
PRICE 15 CENTS. 



f£^g DE WITT'S AC 

(Number 



PR 2812 

.A2 N5 

Copy 1 




HENRY THE FIFTH. 

, A HISTORICAL PLAT, 

IN FIVE ACTS. 

By WILLIAM SHAKSPEARE. 

AS PRODUCED AT BOOTH'S THEATRE, NEW YORK, FEB. 8,1875. 

WITH 

A HISTORICAL SKETCH OF THE PLAY, REMARKS AND NOTES UPON ITS 
CHARACTERS AND INCIDENTS, AND A COMPLETE DESCRIP- 
TION OF THE COSTUMES, PROPERTIES, STAGE 
BUSINESS AND SCENERY. 

^EDITED, and arkanged fob representation, by 

CHARLES E. NEWTON, 

(C. E. PERINE), 

Author of "Out at Sea," "Cast upon the World,'" "Love in 
Italy," "All her own Fault, ' "A Chapter of Mis- 
takes," "Le Pavilion Rouge, 7 ' etc., etc. 

TO WHICH ARE ADDED, 

A description of the Costumes— Synopsis of the Piece— Cast of the Characters 

—Entrances and Exits— Relative Positions of the Performers on 

the Stage, and the whole of the Stage Business. 




ROBERT M. DE WITT, PUBLISHER, 

No. 33 Hose Street. 




t: 



now 

XEAJ>Y. 



OUT AT SEA. A Drama. In a Prologue and Four Acts. By Charlef 
E. Newton. Price 15 cents. 

A BREACH OF PROMISE. A Comic Drama. In Two Acts. I 

T. W. Rnhprfsnn PHno 1 5 nan fc 




DE WITT'S HALF-DIME M 

OP THE BEST SONGS FOR VOICE AND PIANC 

5gf22» 8E&IES of first class Songs contains 

Words and Music {with the Piano accompanimek 
of the most choice and exquisite Pieces, by the mo\ 
able, gifted and most popular composers. It contain) 
every style of good Music— from the solemn and\ 
pathetic to the light and humorous. In brief this ' 
collection is a complete Musical Library in itself both of Vocal 
and Piano-Forte Music. It is printed from new, clear, distinct, 
elegant Music Type, on fine white paper, made expressly for 
this Series, and is published at the low price of Five Cents 

Remember, Each Number contains a Complete Piece of 
Music, beautifully printed on Sheet Music Paper. 

Any Twenty Pieces mailed on receipt of One Dollar, postage paid. 
K*- PLEASE OMDEM SV THE NTTMBEMS. =§» 

Address ' B. M. DE WITT, Publisher, 

S3 Hose Street j JV. T. 

SENTIMENTAL SONGS AND BALLADS. 



No. 

3. Lover's letter-Box Wrighton. 

5 * Thy Voice is Near Wrighton. 

e. Blue-Eyed Violets Jackson. 

3. The Maiden and Her Linnet. 

Montgomery. 

*4. Soft Dew is Sleeping Barker. 

*6. When the Roses Blow Allen. 

SO. Beautiful Bells Coote. 

SL The Mother's Dream Sullivan. 

S3. My Spirit Star Young. 

55. Little Maggie May Blamphin. 

56. The Vagabond Molloy. 

31. My Heart is O'er the Sea. .Claribel. 

3S. Maggie's Welcome Claribel. 

35. Breaming of Nellie Hogett. 

3-y. Five O'Clock in the Morning, 

Claribel. 
30. She Came and Vanished Like a 

Bream Boucher. 

4*. Meet Me. in the Lane Blamphin. 

43. Tapping at the Garden Gate. 

45. Sleeping on Guard Wrighton. 

4T. Summer Bew..... Barker. 

49. Oh, My Lost Loire Plumpton. 



St. Far Away Blifls 

55. Jess Macfarlane Tucker. 

ST. Yes, I'll Meet Thee. Dearest. 

Blamphin. 
SO. Hattie Bell Webstel , 

Of. Whisper "Yes," or "Mo," Love. 

"Adele." 

OS. Her Bright Smile Haunts Me 

StiU Wrighton. 

63. Oh. Cast that Shadow from Thy 

Brow Tucker. 

64. Love Not Block , ey . 

65. She Wore a Wreath of Roses. 
_ Knight. 
*0. Bretty Little Bark Eyes. .. .Parker. 
•ys. When we went a Gleaning. 

Ganz. 
•*4. Mary of Argyle Ne i aon< 

VS. What Bid Little Birdie Say? 

_ Balfe. 

T6. Sing, Birdie, Sing Ganz . 

VS. Spring-Time of Life Jackson. 

V9. Nightingale's Trill <j anz# 



HENEY THE FIFTH. 

% historical flag, 



IN FIVE ACTS 
/ 

BY WILLIAM SHAKSPEARE. 



AS PRODUCED AT BOOTH'S THEATRE, NEW YORK, FEBRUARY 8, 1875. 



WITH 

A HISTORICAL SKETCII OP THE PLAY, REMARKS AND NOTES UPON ITS 
CHARACTERS AND INCIDENTS, AND A COMPLETE DESCRIPTION 
OF THE COSTUMES, PUOPERTIES, STAGE BDSI- m 
NESS, AND SCENERY. 



" 



EDITED, AND AEEANGED FOR REPRESENTATION, BY 

CHARLES E. NEWTON, 

(C. E. PERINE), 

Author of " Out at Sea," " Cast upon the World," " Love in Italy," " All Herovm Fault," 

" A Chapter of Mistakes," " Le Pavilion Rouge," etc., etc 



'"Of!?: 



♦ 

: 

NEW YORK: 
ROBERT M. DE WITT, PUBLISHER, 

No. 33 Rose Street. 

(BETWEEN DUANE AND FRANKirORT STREETS.) 

Entered according to Act of Congress, in the year 1875, by Robert M. De Witt, in 
the office of the Librarian of Congress, at Washington, D. C. 



HENRY TTIK FIFTH. 






CAST OF CHARACTERS. 

Booth's Theatre, New York, 
February 8, 1875. 

Rumor, as Chorus Mrs. Charles Calvert. 

King Henry V Mr. George Rignold. 

Duke of Gloster ) „ „ , ,,. ( Mr. L. Pallor. 

Duke of Bedford \ l Brofchers to the Kin S> J Mr. G. Ranous. 

Duke of Exeter (Uncle to the King) Mr. Henry Weaver. 

Duke of York (Cousin to the King) Mr H. Harvey. 

Earl of Salisbury Mr. George Moore. 

Earl of Westmoreland Mr Frederick Munroe. 

Earl of Warwick Mr. Thomas Edwin. 

Archbishop of Canterbury Mr. James Bartlett. 

Bishop of Ely Mr. Lewis Hall. 

Earl of Cambridge ^ C Mr. Wm. Talmage. 

Lord Scroop > (Conspirators against the King) . . 2 Mr. Charles Whitman. 

Sir Thomas Grey ) - ( Mr. Henry Hogan. 

Sir Thomas Erpingham \ ( Mr. J. R. Davies. 

Gower I (Officers in King Henry's J Mr. H. B. Bradley. 

Macmorris C Army) 1 Mr. R. Lonsdale. 

Fluellen ) ( Mr. Frederick Thorne. 

Jamey Mr. J. W. Brutone. 

Bates ^ r Mr. Joseph Walsh. 

Court > (Soldiers in King Henry's Army) < Mr. Samuel Elliott. 

Williams j ( Mr. Fred'k B Wabde. 

Nym ) ■ _ c,C Mr - Edwin Irving. 

Bardolph ^(Formerly Servants to Falstaff, now Sol-S Mr & Lr 

Pistol $ diers ln K,n S Hem 'y' s Arm ^ ( M . C. B. Bishop. 

Boy (Servant to the above).... ..., Mr. Frask Little. 

A Herald Mr. W Carpenter. 

Charles VI., King of France. Mr. Charles Rockwell. 

Lewis, the Dauphin M. Henri Stuart. 

Duke of Burgundy Mr. L. S. Stafford. 

Duke of Orleans........ Mr. H. B. Comstock. 

Duke of Bourbon Mr. William Simons 

A French Soldier M. Juignet. 

The Constable of France Mr. Edwin Sheppard. 

Rambures } C Mr. Albert West. 

r , , > ( French Lords) *....<,, „, 

Grandpre ) ( Mr. Arthur Weis. 

Governor of Harfleur Mr. J. W. Blessington. 

Montjoy (a French Herald) Mr. E. K. Collier. 

The Bishop of Bourges Mr. E. S. Weston. 

Princess Katherine Mdlle. Berthe Girardin. 

Dame Quickly (Pistol's Wife— an Hostess) Miss Mary Wells. 

Isabel, Queen of Fiance Miss Louise Henderson. 

Alice (a Lady attendant upon the Princess Katherine).. .Miss Fanny Reeves. 

Civic and Ecclesiastial Dignitaries, Knights, Nobles, Pages, Ladies of the Court, 

and other Attendants ; Soldiers, Citizens, etc. 



TIME OF PLAYING— THREE HOURS. 



HENRY THE FIFTH. 



SCENERY. 
ACT I., Scene /.— Gloud drop in 1st grooves. Cloud bank, c, to descend through 
trap, c. Drop to ascend. 
Scene II.— Throne Room in the Palace at Westminster. 



Throne on Platform. 



Door. 



Door. 



Doors r. and l. 2 e. Throne on platform, c. 

Scene 111.— Exterior of Boar's Head Tavern, in 2d grooves. Tavern door L. c. 

Scene IV.— Clouds descend in 1st grooves, and bank rises through trap, c. Cloud 
drop must be made to open at back to disclose Tableau. 

Scene V.— The quay at Southampton. 

Flat. 



Steps supposed to 
Low Stone Wall. 



Water. 
Spile. Side of Pier. 
* 

I lead down to water. 




Upon tlie flat at back is painted the English fleet in the offing. From 4th grooves, 
l., runs a stone moulding, representing side of pier, to r. c. ; from r. 4 e , extending 
r. c, is a low stone wall. Buildings r. and l. Steps, r. c, supposed to lead from 
pier (which the stage represents) to water. 
ACT II., Scene /.—Throne Room in the Palace of Charles VI., in 4th g-ooves. 



Throne. 



Door. 



Door l. 2 E. Throne c, over which is a canopy and the French coat of arms (see 
Notes on Heraldry). 



HENRY THE FIFTH. 

Scene 11.— Cloud drop and bank— same as before. 
Scene III.— The English position before Harfieur. 

,• Run leading up to 

• • ; summit of Platform. 
_ Wall. .*'.•'• 

Platform 6 .• ." Cannon, 

ft. high. .* .* <=* 

n i. T77-4. Cannon. 

Gate ot City. ^ 

Wall. . / 



Rock and earth masking 
about Platform. 



The walls of Harfieur extend obliquely up stage from n. 3 e. to k. c. Gate of city 
a little above b. 3 e. The walls stand upon an elevation, leading up to which is a 
run, beginning l. c. Run and platform both masked in with rock and earth pieces. 
Cannon l, c. 

Scene IV.— Wood in 2d grooves. 

Scene V.— Before Harfieur. Same as Scene 3, Act 2. 

Scend VI.— Apartment in the French Palace at Rouen, in 2d grooves. 

Scene VII.— The English Camp, in 4th grooves. 

Flat. 



Tents in the Perspective. 



Cannon. 



Cannon. 



ACT 111., Scene A— Clouds and bank, same as in previous Acts. 
Sane 11.— Interior of the French Dauphin's tent, in 3d grooves. 



Exterior Backing. 
.. | Aperture. | .... 

Chair. 



Chair. 



Chair. 
* 
Table. 

Chair Chair 



o 



o 



Chair. • . 



The drapery of which the tent is composed drawn aside, making opening, c, through 
which a view of the French Camp is obtained. Lights well down. Tables b. and L., 



HENKY THE FIFTH. O 

upon which are flagons of wine, goblets, dice boxes, dice, and lamps ; seats about 
tables. Stage to be cleared for change by drawing tables, chairs, etc., off r. and l. 
Scene III.— The English Camp, in 4th grooves (night). Lights well down. Slight 
elevation at back. Broken cannon, R. 



Elevation from Stage to Flat. 



Broken 
Cmnon. 



Camp- 

O 

Fire. 



Camp-fire, 1.., opposite 2 k. 

Smne IV.— The French Dauphin's tent, as before. 

Scene F.— The field of Agincourt. A view of level country, in 5th grooves. 

Scene VI — Wood, in 1st grooves. 

Scene VII— The Battle of Agincourt. Tableau. Upon the flat at back, 5th 
grooves, a distant view of the French and English Armies in fierce encounter is 
given. Property horse, with neck and head encased in armor, r. c. 

Scene VIII. — Landscape, in 2d grooves. 

Scene IX.— In the neighborhood of King Henry's quarters. Landscape ; wood- 
wings in 4th grooves. 

ACT IV., Scene /.—Clouds and bank, as before. 

Scene //.—View of old London Bridge from the Surry side of the Thames. 

Flat. 



Bridge. 



Bank of Masonry. 



Upon the flat at back a view of London and the Thames. Wings, l., represent 
buildings, from the windows of which are suspended the flags of England and France. 
The houses in the distance decorated with flags. Bridge from r. u. e. to r. c, run- 
ning obliquely. Stone work from r. c. to k. 2 c. Wall from upper side of bridge, 
r. c. to flat at back, l. c. 

ACT V., Scene 1.— Apartment in the French Palace, Troyes, in 3d grooves. Doors 
l. and r. 2 e. Flat and sides handsomely decorated. French and English stand- 
ards suspended upon flat at back. 

Scene II. — A street in Troyes, in 1st grooves. 

Scene III.— Interior of the Cathedral of Troyes, in 5th grooves. Architecture 



D IIKKllY THE FIFTH. 

Gothic. Arch c, over which is an oval window with colored glass. Large windowa 

Window. Window. 

...-I | .... Arch | (.... 



Pillar. * 


* Pillar. * 


Pillar. 


Pillar. 


Pillar. * 


* Pillar. * 


Pillar. 


Pillar. 



R. and l. c, with colored glass. Sunlight effect through windows. Gothic pillars 
K. and l., forming arches at top with wings. 



COSTUMES. 

King Henry.— First Dress : Crimson robe ; long sleeves, trimmed with ermine j 
crown ; collar and pendant (See " Badges and Collars," under " Notes on Herald- 
ry "). Second Dress : Full plate armor, with arms of England and France quar- 
tered thereon ; crown arched over helmet (See " Royal Crown and Circlet," under 
" Notes on Heraldry "). 

Gloster. — First Dress : Orange robes, trimmed with ermine. Second Dress : Full 
armor. 

Bedford.— First Dress: Blue robes, trimmed with ermine. Second Di-ess : Full 
armor. 

Exeter.— First Drets : Scarlet and ermine. Second Dress : Full armor. 

York.— First Dress : Maroon and ermine. Second Dress : Full armor. 

Salisbury. — First Dress: Red trimmed with dark fur. Second Dress : Full armor. 

Westmoreland.— First Dress; Orange, trimmed With white fur. Second Dress: 
Full armor. 

Warwick. — First Dress : Red, with white fur. Second Dress : Full armor. 

Canterbury.— Episcopal robes of the Fifteenth Century ; gold cross. 

Ely.— The same, with the exception of gilt crozier instead of gold cross. 

Cambridge.— Yellow doublet, trimmed with white fur. Gray tights. 

Scroop. — Purple doublet, trimmed with gray fur. Red tights. 

Grey. — Red doublet, trimmed with gray fur. Purple tights. 

Erpingh am.— First Dress ; Red robe, trimmed withbrown fur. Black shoes. Sec- 
ond Dress : Full armor. 

Gower.— Full armor. 

Fluellen.— Full armor. 

Macmorris.— Helmet ; breast and back plate ; legs encased in plates ; red sleeves. 

Jamey. — Helmet ; brown shirt ; breast plate ; brown tights. 

Bates, Court, and Williams.— Dark shirts and tights ; breast-plates and helmets. 

Nym. — Dark shirt and tights ; russet boots ; cap. 

Bardolph.— Gray shirt, red tights, cap, and boots. 

Pistol.— Helmet, with single feather; brown doublet ; breast-plate; brown tights; 
boots ; sword. 

Boy.— Brown shirt and tights, brown half-boots and cap. 

Heralds. — Shirts, with arms of England and France quartered thereon (See "Notes 
on Heraldry ") ; tights and caps. 

Charles VI.— Long orange tunic; white robe, embroidered with gold fleur-de-lis', 
coronet. 

D uphin. — First Dress : Orange tunic; pear]-colored arms and legs; red half-boots. 
Second Dress : Armor. 

Burgundy.— Red tunic, trimmed with gray fur ; white tights ; boots. 

Orleans.— First Dress: Crimson tunic trimmed with gold; light tights. Second 
Dress: Armor. 



HENttT THE FIFTH. / 

. Bourbon*.— First Dress : Purple tunic and tights. Second Dress : Armor. 

Constable. — First Dress: Maroon tunic trimmed with fur ; gray tights; halt-boots. 
Second Dress : Complete armor ; breast-plate studded with gold stars. 

Kambures and Grandpre.— Fit st Dre>>s : Handsome tunics, tights, and boots. Sec- 
ond Dress : Full armor. 

Governor of Harfleur.— Complete armor. 

Montjoy.— Orange tunic, long full sleeves ; blue surcoat, and dark cap. 

French Soldier.— Helmet ; breastplate; dark tunic; red tights. 

French Lords — Handsome tunics and armors. 

English Soldiers.— Breast-plates ; helmets; dark tights, and shirts. 

Chorus (Rumor).— White flowing robe, low neck, short sleeves; band of gold about 
waist ; plain gold wristlets and necklace. 

Queen Isarel.— High headdress ; satin and velvet robes. 

Katherise.— High headdress ; satin skirt ; long bodice trimmed with fur. 

Alice and Attendants on Kathekise and Queen Isabel. — Satin dresses ; long 
bodices. 

Dame Quickly. — Dark gown ; white apron ; dark caul cap, with white cap beneath. 
Beard and moustache were seldom worn during the period of the play. Gentle- 
men and nobles wore very long full tunics, with flowing sleeves. 



PROPERTIES. 



ACT I., Scene 1.— Throne c, over which is a rich canopy, upon which is embroidered 
the royal coat-ot'-arms (See " Notes on Heraldry "). Sceptre for Henry ; crown. 
Over platform upon which the throne stands, red velvet fringed with gold. 
Trumpet for Herald. Treasure chest, bearing the coat-of-arms of the French 
king, for ambassadors, ready, r. 2 e. Scene 4.— Purses to be used in tableau. 
Scene 5. — Scrolls for Henry. Crossbows, swords, banners, for Soldiers. 

ACT II., Seen?, 1.— Throne, over which are suspended the coat-of-arms of France 
(See "Notes on Heraldry"). Sceptre for King; trumpets for Heralds ; paper 
for Exeter. Scene 3. — Crossbows and arrows for Archers; ladders for Sol- 
diers ; cannon L. c ; banners and English standard. Scene 5. — Flag of truce 
for Governor of Harfleur ; banners and English standard. Scene 7.— Arms 
for Soldiers. 

ACT 111., Scene 2. — Pieces of armor r. and l. ; tables r. and l., with covers, bearing 
the French coat-of-arms ; seats r. and l. ; lamps (lighted) ; dice boxes and 
dice; richly ornamented flagons and goblets, containing wine, on tables. 
Scene 3.— Camp-fire opposite L. 2 e. ; broken cannon r ; glove for Williams. 
Scene 5.— Flags, banners, battle-axes, crossbows, etc., for Soldiebs. Scene 7.— 
Arms, banners, etc , for French and English Soldiers. Horse, with neck and 
head encased in armor, saddled and bridled, r. c. Scene 9.— Bier ready, l. 1 f.., 
large enough to bear the bodies of York and Suffolk. Glove for Soldier. 
Purse containing crowns for Exeter ; paper for Herald. 

ACT IV., Scene 2.— Banners, royal arms for Soldiers and populace. Gold crosses 
for Clergy, etc. 

ACT V., Scene 1.— Scroll for Burgundv. Scene 2.— Leek and cudgel for Flufllen. 
Scene 3. —French and English standards and banners for Soldiers and Knights. 



SKETCH OF THE PI AY. 

It is quite evident that the incidents and story of Henry the Fifth, were derived 
by Shakespeare from Hollinshed's Chronicles, 1587 ; indeed, so closely has he followed 
that writer, that the production may be justly termed a dramatic history of the 
reign of " Harry of Monuionth," wherein many of the incidents related by the pen 
of the historian are vividly depicted in action, and embellished by the genius of the 
poet. It is believed that Henry the Fifth was first produced in May or June, 1599, 

t there is no absolute proof of the fact. 



8 ' HENRY THE FIFTH.- 

The first positive knowledge we have of its production, is obtained from an entry 
in the "Bevel's Accounts," which shows that it was performed at court in 1605, " by 
his Majestie's plaiers." We have no other record of its representation until 1663— 
after the Restoration. In 1664, a play called " Henry the Fifth," written by the 
Earl of Orrey, was produced in London ; but it bore no resemblance to Shakes- 
peare's production, except, perhaps, in point of historical incident. 

In 1723, an acting edition of "Henry the Fifth" was arranged by Hill, and pro- 
duced at the Drury Lane Theatre, London ; and in 1738, the play was performed at 
Covent Garden in its original form. In the construction of his drama, Shakespeare 
closely followed the story of the old play, but did no£ in the least encroach upon the 
dialogue, which is in fact extremely crude, and possesses little or no claim to liter- 
ary merit. By the introduction of the chorus, the poet has followed the example 
set by the Greek writers. Shakespeare opens his play in the second year of Henry's 
reign— he having ascended the throne April 21st, 1413, being, at the time of his 
coronation; twenty-five years of age. It is asserted by most historians that the con- 
quest of Frauce was planned by the clergy, in order to prevent the passage of an act 
for dissolving certain religious institutions, and appropriating the funds used for 
their support to the crown, for the maintenance of 15 earls, 1,500 knights, 6,200 esquires 
and 200 alms-houses, besides adding j£20,000 to the Royal Exchequer. The bill was 
much feared by the religious community, and very unpopular with the clergy ; hence 
their determined efforts to prevent its passage. Some historians, however, even refuse 
to ascribe the French war to the " Spoliation Bill," as it was termed ; holding that 
Henry had shortly after his accession to the crown made demands upon France, 
with which he could scarcely expect compliance without resort to arms. The Arch- 
bishop of Canterbury's oration on the "Law Sal ique,"— according to which, no 
woman was permitted to govern or reign in her own right — is given in Holinshed's 
Chronicles, and while Shakespeare has adhered closely to the sense of the same, he 
has managed to impart to it the true eloquence of poetry. (See Scene 2, Act I.) The 
era over which the play extends is about eight years. 

Influenced by the force of Canterbury's argument, and doubtless prompted also by 
the ambition natural to his youth and character, Henry determined to compel 
Charles of France, by force of arms, to acknowledge the legitimacy of his claims to 
the French crown, which his grandfather, Edward the Third, had so confidently and 
successfully urged. Th« eve before sailing from Southampton, to invade France 
with an army of about 30,000 men, Henry was, as the historian informs us, " credi- 
ble informed that Richard, Earl of Cambridge, brother to Edward, Duke of York, 
and Henrie, Lord Scroope, of Masham, lord treasurer, with Thomas Graie, a knight 
of Northumberland, being confederate togither, had conspired his death, wherefore 
he caused thera to be apprehended. * * * These prisoners, upon their examina- 
tion, confessed that for a great summe of monie, which they had 'received of the 
French King, they intended verelie, either to have delivered the king alive into the 
hands of his enemies, or else to have murthered him before he should arrive in the 
duchie of Normandie. When King Henrie had heard all things opened which he 
desired to kuow, he caused all his nobilitie to come before his presence, before 
whome he caused to be brought the offenders also, and to them said : ' Having thus 
conspired the death and destruction ot me, which am the head of the realme and 
governour ot the people, it maie be (no doubt) but that you likewise have sworn the 
confusion of all that are here with me, and also the desolation of your own country 
— to what horror (oh lord) for any true English hart to consider that such an exe- 
crable iniquitie should ever bewrap you, as for plasing of a forren enimie to imbrue 
your hands in your blood, and to ruine your owne native soile. Revenge therein 
touching my person though I seek not, yet for the safeguard of you, my deere 
f reends, and for due preservation of all sorts, I am by office to cause example to be 
shewed. Get you hence, therefore, ye poor miserable wi-etches, to the receiving of 
your just reward, wherein God's majestie give you grace of His mercie, and repen- 
tance of your heinous offenses,' and so immediately they were had to execution." 
(See Scene 1, Act I.) 

On the 13th day of August, 1415, Henry sailed with his fleet of 160 ships from 



HENRY THE FIFTH. 9 

Southampton. Arriving in France, he marched against Harfleur, which town, 
after a siege of six weeks, surrendered to him. (See Scene 5, Act II.) On October 
25th, 1415, he fought the famous battle of Agincourt— achieving one of the most 
wonderful victories history has ever recorded. Hall informs us that the number of 
the French was estimated to be six times as many as that of the English. The loss 
of the English is estimated by various authorities, from seventeen to one hundred i 
while that of the French is stated by Monstrelet to have been full ten thousand. On 
November 23d, of the same year, King Henry returned to London. In August, 1417, 
he again crossed to France, and on the 20th day of May, 1420, the treaty of " per- 
petual peace " was entered into at Troyes, and Henry espoused to the Princess Kath- 
erine (see Scene 3, Act III.), whom he married on the second of the following June. 

The object of the arrangement and publication of this work is to place at the dis- 
posal of the theatrical profession, an entirely new and complete acting edition of 
the play, with a view to facilitate its future production, and enabling the actors to 
obtain a correct and perfect idea of its characters. For the foundation of the work I 
have adopted Mr. Charles Calvert's arrangement of the drama 1 have, however, 
restored much of the original text, which in some instances had been injudiciously 
omitted, and also taken pains to correct the typographical and other errors which 
have found their way into most of the acting editions previously published. I sin- 
cerely trust that my object has been fully accomplished, and that the following work 
may prove a valuable acquisition to the library of both manager and actor. 

Charles E. Newton. 

New York, May 6th, 1875. 

REMARKS. 

Fob many of the historical notes to this work, I am indebted to the careful re- 
search of Mr. Charles Calvert, and for the Notes on Heraldry, to Mr. Albert Derby- 
shire, by whom they were expressly arranged for Mr. Calvert's revival of Henry the 
Fifth, at the Princess' Theatre, London. 

As " it is an established fact that Shakespeare derived the plot of the play from 
Holinshed, whom he has closely followed, both as regard to incident and language, I 
have appended explanatory notes from that author wherever I thought them ex- 
pedient. 

King Henry, at the time of his accession to the crown, is described as being 
"tall, and somewhat slim, with black hair, and closely shaven beard, keen dark 
eyes, and long, sinewy limbs, and a chest of great width and depth. His features 
were remarkably fine, his brow wide and expressive, and his forehead high, and the 
whole expression of his countenance noble and commanding, " c. e. n. 



NOTES ON HERALDRY. 

The Royal Arms of England. — From the reign of Henry IV., till the accession 
of James VI., of Scotland, to the English throne, the royal shield and banner was 
blazoned France modern and England quarterly ; much lias been said in support of 
the theory that the shield hanging up with other relics in Westminster Abbey, be- 
longing to Henry V., was the identical one used by the monarch at the battle of 
Agincourt ; but the blazoning of this shield is so unlike any heraldry displayed by 
Henry, and so thoroughly French in character, the conclusion may be logically ar- 
rived at, that it is a mere trophy brought from that memorable field, a fact still fur- 
ther borne out by the statement of Elmham, a contemporary chronicler, Who dis- 
tinctly describes the king's heraldry as consisting of " three golden flowers planted in 
an azure field, and three golden leopards sporting in a ruby field." 

The Royal Arms of Fkakcf..— The Royal Shield and B inner, or Oriflamme, as 
used at the period of the action of the play, had a blue ground charged with three 
golden Fleurs-de-lis. This display of the royal heraldry of Fiance is known to her- 
aldic scholars as Franca modern, in contradistinction to France ancient, which con- 
sisted of a blue field sprinkled' all over with golden Fleurs-de-lis. The change from 



10 HENltY THE FIFTH. 

France ancient to France modern was made by Charles V., about the middle of the 
fourteenth century. 

Badges and Collars.— Badges form a very interesting section of heraldic study 
and investigation ; they are not to be confounded with, or mistaken for, charges on 
shields or banners ; they are entirely distinct heraldic figures, having reference to 
incidents of historical or personal interest. The royal badges form a most interest- 
ing group ; and all have reference to the varying fortunes of their princely owners. 
The planla genista, or sprig of broom, is well known in connection with the great 
house of Plantagenet; the red and white roses of York and Lancaster, and the 
feathers of the Prince of Wales, are all familiar to the student of history. 

The badges of Henry V. , chosen for adoption in the revival of the play, are the Black 
Swan chained, the Red Rose of Lancaster, and a single Ostrich feather. 

The Black Swan of the De Bohuns was the favorite badge of both Henry and his 
father, Henry of Bolingbroke. The following quotation from Miss Strickland's 
" Lives of the Queens," will explain the reason for its adoption : " Henry the Fourth's 
first wife was Mary de Bohun, the co-heiress of the Earl of Hereford, Lord Consta- 
ble of England. * * * * Her sister was married to Henry's uncle, Gloucester. 
* * * * She (Mary) died in the bloom of life, leaving six infants, namely, the 
renowned Henry V. ; Thomas, Duke of Clarence ; John, Duke of Bedford, Regent of 
France; and Humphrey, Duke of Gloucester, Protector of England; Blanche, mai- 
ried to the Count Palatine; and Phillipa, to Eric, King of Denmark. * * * It 
was from Mary Bohun that Henry derived his title of Duke of Hereford.'" 

Id addition to badges, the adherents of the two great rival houses wore collars, 
Sometimes made of embroidered stuff, and often of metal wrought with all the cnn- 
nin b of the artistic goldsmith. The Yorkist collars were formed mostly of alternate 
sum, and roses, and the Lancastrian of the letter " S " repeated, supposed to repre- 
sent the word " Xoveraygne" a motto of Henry the Fourth's. In the play, Henry 
wears this collar, having a pendant containing the Black Swan, with wings ex- 
tended. 

The Royal Crown and Circlet.— A radical change took place in the form and 
details of the royal diadem in the reign of Henry V. Prior to this period, the crown 
consisted of a mere circlet of metal, ornamented with strawberry leaves and pearls, 
as represented on coins and sepulchral monuments. In Henry's reign, this circlet 
was first arched over, and surmounted by the ball and cross ; the strawberry leaves 
gave way to crosses, patees, and fleurs-de-lis. The circlet without the arches was 
. worn by the heroic Henry, surmounting his steel cap, in warfare. 

Montjoy, the Herald of thb French.— " Monljoy," the name given to the 
principal herald of Charles VI., plays an important part in Shakespeare's Henry V., ' 
and would probably hold an office somewhat analagousto that of " Garter " amongst 
English heralds. In the early days of English heraldry, individual devices or bear- 
ings became so popular, and, consequently, so numerous, that it was absolutely 
necessary to arrange, classify, and chronicle them, so that a knight might be easily 
recognized by his bearings and heraldic insignia. Not only was this desirable in the 
actual din of battle, but in the more peaceful lists at home. When a champion 
entered equipped for the tournament, his name and style were given by the heralds, 
who called attention by a blast or flourish of trumpets ; afterwards the persons who 
arranged and chronicled armorial bearings were called heralds. These heralds acted 
in a collegiate capacity in the reign of Henry V., incorporated by Boyal Charter in 
the reign of Richard III., followed by another in that of Edward VI. They consist 
of three kings, six heralds, and four pursuivants, and constitute what is known in 
our time as the "College of Heralds." The art of describing shields of arms was 
designated " blazon," and at the close of the thirteenth century a distinct and re- 
cognized science was established, which has ever since been called heraldry. 

Flags and Banners. — The banners displayed in Henry V. form a most interest- 
ing and decorative feature, and produce a rich and pleasing picture of the heraldry 
of the period. Boutell, in his admirable little work on " English Heraldry," divides 
the flags of mediaeval times into three sections, viz., The Pennon, Banner, and Stan- 
dard. The Pennon was a swallow-tailed pendant from the lance-head of the kuight 
whose personal ensign it was, charged with badges or other armorial devices. The 
banner was nearly square in form, and was charged with the Cote-armor of the 
bearer, and not with any other devices. The sails of ships were also emblazoned 
with Cote-armor, as shown in illuminations, seals and coins. The Standard was of 
lai'ge dimensions, and of considerable length, in proportion to its depth, and taper- 
ing towards its extremity. Pennons and standards were charged with the owner's 
familv badges, etc , in addition to coats of arms. 

The following is a description of Henry's standard : " It had the Cross of St. 
George next the staff, and the fly was divided into red and white, the livery colors 
of the house of Lancaster— charged with the Bohun black swan, woodstocks, fox- 
tails, and the Lancastrian red roses." 



HENRY THE FIFTH. 



ACT I. 

SCENE I. — Clouds. Rumor, as Chorus, discovered, C, on cloud bank. 

EtuMou. Oh ! for a muse of fire, that would ascend 
The brightest heaven of invention ; — 
A kingdom for a stage, princes to act, 
And monarchs to behold the swelling scene ! 
Then should the warlike Harry, like himself, 
Assume the port of Mars ; and, at his heels, 
Leashed in like hounds, should famine, sword, and fire, 
Crouch for employment. " But pardon, gentles, all,* 
The flat un raised spirit that hath dar'd 
On this unworthy scaffold to bring forth 
So great an object ; can this theatre hold 
The vasty fields of France 1 or may we crowd 
Within this wooden the very casques, 
That did affright the air at Agincourt ? 
0, pardon ! since a crooked figure may 
Attest in little place, a million ; 
And let us, ciphers to this great accompt, 
On your imaginary forces work." 
Suppose, within the girdle of these walls 
Are now confin'd two mighty monarchies, 
Whose high up-reared and abutting fronts 
The perilous, narrow ocean, parts asunder. 
Piece out our imperfections with your thoughts ; 
Into a thousand parts divide one man, 
And make imaginary puissance; 
Think when we talk of horses, that you see them 
Printing their proud hoofs i' the receiving earth ; 
For 'tis your thoughts that now must deck our kings, 
Carry them here and there ; jumping o'er times ; 
Turning the accomplishment of many years 
Into an hour-glass ; for the which supply, 
Admit me, Chorus, to this history ; 
" Who, prologue-like, your humble patience pray, 
Gently to hear, kindly to judge, our play. (Music — Cloud drop 
s — Rumor descends on bank through trap, c.) t 



* Those lines enclosed in quotation marks are usually omitted i.i the representa- 
tion of the play. 

t Both at the Princess' Theatre, London, and at Booth's, New York, a damask 
curtain was lowered after the delivery of the chorus, and then withdrawn, disclosing 
the scene following. I am, however, inclined to believe that those conversant with 
stage effect will agree that the disposal of the curtain is an improvement rather than 
the reverse.— Ed. m '*' *" - 



12 HENUY IHE FIFTH. [ACT I. 

SCENE II. — The Throne Room in the Palace at Westminster. Throne c, at 
back. The Dukes op Bedford* and GLOSTER,t k . Duke of Exe- 
ter,:}: Earls of Warwick, Westmoreland, and Nobles, l. 

Enter King Henry, § r. 2 e. 

King Henry. Where is my gracious lord of Canterbury ? 

Exeter.|| Not here in presence. 

King. Send for him, good uncle. 

Westmorland. Shall we call in the ambassador, my liege? 

King. Not yet, my cousin ; we would be resolv'd, 

Before we hear him, of some things of weight 
That task our thoughts, concerning us and France. 

Enter the Archbishop of Canterbury^ and Bishop of Ely,** with 
attendants, it. 2 E. 

Canterbury (r. a). God and his angels guard your sacred throne, 

And make you long become it. 
King. Sure, we thank you 

My learned lord, we pray you to proceed ; 

And justly and religiously unfold 

Why the law Salique-j-f that they have in France, 

Or should, or should not, bar us in our claim ; 

And Heaven forbid, my dear and faithful lord, 

That you should fashion, vest, or bow your reading, 

Or nicely charge your understanding soul, 

With opening titles miscreate, whose right 

Suits not in native colors with the truth ; 

We charge you, in the name of Heaven, take heed ; 

For never two such kingdoms did contend 

Without much fall of blood ; whose guiltless drops 

Are every one a woe, a sore complaint 

'Gainst him whose wrongs give edge unto the swords 

That make such waste in brief mortality. 

* John, Duke of Bedford, was the third son of King Henry IV., and his brother, 
Henry V., left to him the Regency of France. He died in the year 1435. This duko 
was accounted one of the best generals of the royal race of Plantaganet. 

t Humphrey, Duke of GHoster, was the fourth son of Kinpr Henry IV., and on the 
death of bis brother, Henry V., became Regent of England. It is generally sup- 
posed he was strangled. His death took place in the year 1446. 

% Thomas Beaufort, youngest natural son of John of Gaunt, by Catherine Swyn- 
ford. He was in truth now only Earl of Dorset, not being created Duke of Exeter 
until 1416. 

§ Henry the. V. of that name, and sone of Henry the IIII., began his reygne over 
this realme of Englande ye xxi day of the moneth of Marche * * * This man, 
before ye deth of his fader, applyed hym unto all vyce and insolency, and drewe un- 
to liym all ryottours and wylde dysposed persones ; but after he was admytted to 
the rule of the lande, anone and sodaynly he became a newe man, and tourned all 
that rage and wyldnes into sobernesse and wvse sadnesse, and the vyce into costant 
vertue.— Fabyan. (For description of King Henry's personal appearance, see Re- 
marks.) 

He was Duke of Lancaster and Earl of Chester and Derby. — Tyler. 

I Exeter was half-brother to King Henry IV., being one of the sons of John of 
Gaunt, by Catherine Swynford. 

IT Henry Chichely, a Carthusian monk, recently promoted to the see of Canterbury. 

** John Fordham, consecrated 1388 ; died, 1426. 

tf Thk Law Sat.ique.— According to this law no woman was permitted to govern 
or be a queen in her own right The title was only allowed to the wife of the mon- 
arch. 'J hi3 law was imported from Germany by the warlike Franks. 



ACT I.] EEMY THE FIFTH. 13 

Under this conjuration, speak, my lord ! 
Cant. Then hear me, gracious sovereign ; and you, peers, 

That owe yourselves, your lives, and services, 

To this imperial throne : — There is no bar 

To make against your highness' claim to France, 

But this, which they produce from Pharamond — 

" In terrain Salicam mulieres ne succedant," 

"No woman shall succeed in Salique land ;" 

Which Salique land the French unjustly gloze 

To be the realm of Fiance, and Pharamond 

The founder of this law and female bar. 

Yet their own authors faithfully affirm 

That the land of Salique is in Germany, 

Between the floods of Sala and of Elbe. 

" Nor did the French possess the Salique land 

Until four hundred and twenty years 

After defunction of King Pharamond, 

Idly suppos'd the founder of this law; 

Besides their writers say, 

King Pepin, which deposed Childerick, 

Did, as heir-general, being descended 

Of Blithild, which was daughter of King Clothair, 

Make claim and title to the crown of France. ■ 

Hugh Capet also — that usurped the crown 

Of Charles, the Duke of Loraine, sole heir male 

Of the true line and stock of Charles the Great — 

To fine* his title with some show of truth, 

Conveyed himself as heir to the Lady Lingare, 

Daughter to Charlemagne, who was the son 

Of Charles the Great. Also King Lewis the Tenth 

Who was sole heir to the usurper Capet, 

Could not keep quiet in his conscience, 

Wearing the crown of France, till satisfied 

That fair Queen Isabel, his grandmother, 

Was lineal to the Lady Ermengare. 

So that as clear as is the summer's sun, 

King Pepin's title, and Hugh Capet's claim, 

Kin ^ Lewis his satisfaction, all appear 

To hold in right and title of the female ; 

So do the kings of France unto this day. 

Howbeit, they would hold up this Salique law, 

To bar your highness claiming from the female ; 

And rather choose to hide them in a net, 

Than amply to imbare their crooked titles 

Usurped from you, and your progenitors V 
King. May I, with right and conscience, make this claim 1 
Cant. The sin upon my head, dread sovereign ! 

For in the Book of Numbers it is writ — 

When the son dies, let the inheritance 

Descend unto the daughter. Gracious lord, 

Stand for your own ; unwind your bloody flag; 

Look back into your mighty ancestors ; 

Go. my dread lord, to your great grandsire's tomb, 

From whom you claim ; invoke his warlike spirit, 

And your great uncle's, Edward the Black Prince ; 

* Display advantageously. 



14 LENEY THE FIFTH. [ACT I. 

Who on the French ground play'd a tragedy, 

Making defeat on the full power of France ; 

Whiles his most mighty father on a hill 

Stood smiling to behold his lion's whelp 

Forage in blood of French nobility. 

' Oh, noble English ! that could entertain 

With half their forces, the full pride of France ; 

And let another half stand laughing by, 

All out of work, and cold for action !" 
Ely (r.). " Awake remembrance of these valiant dead, 

And with your puissant arm renew their feats; 

You are their heir, you sit upon their throne • 

The blood and courage, that renowned them, 

Runs in your veins ; and my thrice-puissant liege 

Is in the very May-morn of his youth, 

Ripe for exploits and mighty enterprises." 
Exe. (l. a). Your brother kings and monarchs of "the earth 

Do all expect that you shall rouse yourself, 

As did the former lions of your blood. 
West. (l.). They know your Grace hath cause, and means, and might; 

So hath your highness ; never King of England 

Had nobles richer, and more loyal subjects ; 

Whose hearts have left their bodies here in England, 

And lie pavilion'd in the fields of France. 
Cant. 0, let their bodies follow, my dear liege, 

" With blood, and sword, and fire, to win your right. 

In aid whereof, we of the spirituality 

Will raise your highness such a mighty sum, 

As never did the clergy at one time 

Bring in to any of your ancestors. 
King. We must not only arm to invade the French ; 

But lay down our proportions to defend 

Against the Scot. 

For you shall read, that my great grandfather 

Never went with his forces into France, 

But that the Scot, on his unfurnish'd kingdom, 

Came pouring, like the tide into a breach, 

That England, being empty of defence, 

Hath shook and trembled at the ill neighborhood. 
Exe. " She hath been then more fear'd than harm'd, my liege; 

For hear her but exampled by herself — 

When all her chivalry hath been in France, 

And she a mourning widow of her nobles, 

She hath herself not only well defended, 

But taken and impounded as a stray, 

The King of Scots ; whom she did send to France, 

To fill King Edward's fame with prisoner kings ; 

And make her chronicle as rich with praise, 

As is the ooze and bottom of the sea 

With sunken wreck and sumless treasuries. 
Cant. They of the marches, gracious sovereign, 

Shall be a wall sufficient to defend 

Our island from the pilfering borderers, 

Therefore, to France, my liege. 

Divide your happy England into four ; 

Whereof, take you one quarter into France, 

And you withal shall make all Gallia shake. 



ACT I.J HENRY THE FIFTn. 15 

If we, with thrice that power left at home, 
Cannot defend our own door from the dog, 
Let us be worried ; and our nation lose 
The name of hardiness and policy." 
King. Call in the messengers sent from the Dauphin. 

[Exit Herald and Nobles, r. 2 e. The King goes up, and 
ascends throne, c. 
Now, we are well resolv'd ; and by God's help, 
Ami yours, the noble sinews of our power, 
France being ours, we'll bend it to our awe, 
Or break it all to pieces. 

Enter Ambassadors of France, r. 2 v.., folloioed by Nobles and attendants, 
bearing treasure-chest, which they deposit, c, then drop down, l. 

Now are we well prepar'd to know the pleasure 

Of our fair cousin dauphin ; for, we hear, 

Your greeting is from him, not from the king. 
Ambassador (l. c ). May it please your majesty to give us 

Freely to render what we have in charge, 

Or shall we sparingly show you far off 

The dauphin's meaning and our embassy 1 
King. We are no tyrant, but a Christian king, 

Under whose grace our passion is as subject 

As are our wretches fettered in our prisons. 

Therefore, with frank, and with uncurbed plainness, 

Tell us the dauphin's mind. 
Amb. Thus, then, in few. 

Your highness, lately sending into France, 

Did claim some certain dukedoms, in the right 

Of your great predecessor, King Edward the Third, 

In answer of which claim, the prince, our master 

Says, that you savor too much of your youth ; 

And bids you be advis'd, there's naught in France 

That can be with a nimble galliard won ; 

You cannot revel into dukedoms there. 

He therefore sends you, meeter for your spirit, 

This tun of treasure ; and, in lieu of this, 

Desires you, let the dukedoms that you claim 

Hear no more of you. This, the dauphin speaks. 
King. What treasure, uncle? 
Exe. [advancing, c, and examining contents of chest). Tennis-balls, my 

liege. 
King. We are glad the dauphin is so pleasant with us, 

His present, and your pains, we thank you for; 

When we have match'd our rackets to these balls 

We will, in France, by God's grace, play a set, 

Shall strike his father's crown into the hazard ; 

'' Tell him, he hath made a match with such a wrangler, 

That all the courts of France will be disturb'd 

With chaces. And we understand him well, 

How he comes o'er us with our wilder days 

Not measuring what use we made of them. 

We never valued this poor seat of England ; 

And, therefore, living hence, did give ourself 

To barbarous license ; as 'tis ever common 

That men are merriest when they are from home. 



16 HENKY THK FIFTH. [aC£ I. 

But tell the dauphin — I will keep my state ; 

Be like a king, and show my sail of greatness 

When I do rouse me in my throne of France ; 

For that I have laid by my majesty, 

And plodded like a man for working days — 

But I will rise there with so full a glory, 

That I will dazzle all the eyes of France — 

Yea ! strike the dauphin blind to look on us. 

And tell the pleasant prince, this mock of his 

Hath turned his balls to gunstones, and his soul 

Shall stand sore charged for the wasteful vengeance 

That shall fly with them, for many a thousand widows. 

Shall this mock mock out of their dead husbands ; 

Mock mothers from their sons, mock castles down ; 

And some are ungotten and unborn 

That shall have cause to curse the dauphin's scorn." 

But this lies all within the will of God, 

To whom I do appeal and in whose name, 

Tell you the dauphin, I am coming on 

To 'venge me as I may, and to put forth 

My rightful hand in a well hallowed cause. 

So get you hence in peace, and tell the dauphin, 

His jest will savor but of shallow wit, 

When thousands weep more than did laugh at it — 

Convoy them with safe conduct. Fare you well ! 

[Exeunt Ambassadors, r. 2 e. 
Exe. This was a merry message. 

King. We hope to make the sender blush at it. {descends from throne, and 
comes down, c.) 

Therefore, ray lord, omit no happy hour, 

That may give fartherance to our expedition, 

For we have now no thought in us but France, 

Save those lo God. that run before our business. 

Therefore, let our proportions for these wars 

Be soon collected, and all things thought upon 

That may with reasonable swiftness, add 

More feathers to our wings ; for, God before, 

We'll chide this dauphin at his father's door. 

" Therefore, let every man now task his thought, 

That this fair action may on foot be brought." 

[Exeunt, followed by Loiids and attendants, l. 2 e. Music. 

SCENE III. — Exterior of the Boar's Head Tavern, Eastcheap — Tavern door, 

l. c. 

Enter Nym, l., and Bardolph, r. 

Bardolph. Well met, Corporal Nym. 

Nym Good-morrow, Lieutenant Bardolph. 

Bar. What, are Ancient Pistol and 3-ou friends yet 1 

Nym. For my part, I care not ; I say little, but when time shall serve, 
there shall be smiles ; but that shall be as it may. I dare not fight, 
but I will wink, and hold out mine iron ; it is a simple one, but what 
though 1 It will toast cheese, and it will endure cold as another man's 
sword will, and there's an end. 

Bar I will bestow a breakfast to make you friends, and we'll be 
three sworn brothers to Franco ; let it bo no, good Corporal N'yra. 



ACT I.] HENRY THE FIFTH. 17 

Nym. Faith, I will live so long as I may, that's the certain of it, and 
when I cannot live any longer, I will do as I may ; that is my rest, and 
that is the rendezvous of it. 

Bar. It is certain, corporal, that he is married to Nell Quickly, and, 
certainly, she did you wrong; for you were troth-plight to her. 

Nym. I cannot tell ; tilings must be as they may ; men may sleep, 
and they may have their throats about them at that time ; and, some 
say, knives have edges. It must be as it may, though patience be a tired 
mare,' yet she will plod. There must be conclusions. Weil, I cannot 
tell. 

Enter Pistol, Mrs. Quickly, and the Boy, from the tavern door, l. c. 

Bard. Here comes Ancient Pistol and his wife — good corporal, be 
patient here. How now, mine host, Pistol 1 
Pistol. Base tike, call'st thou me host 1 

Now, by this hand I swear, I scorn the term ; 
Nor shall my Nell keep lodgers. 
Quickly ( perceiving Nym). 0, well-a-day, Lady, if he be not here. 
Now we shall see wilful burglary and murther committed. Good Lieu- 
tenant Bardolph 

Bar. Good corporal, offer nothing here. 
Nym. Pish ! 

Pistol. Pish for thee, Iceland dog ! thou prick-eared cur of Iceland. 
Quick. Good Corporal Nym, show thy valor and put up thy sword. 
Nym. Will thou shog off? I would have you solus, {sheathing his 
sword.) 
Pistol. Solus, egregious dog 1 0, viper vile ! 
The solus in thy most marvellous face ; 
The solus in thy teeth, and in thy throat, 
And in thy hateful lungs ! yea, in thy maw, perdy ; 
And which is worse, within thy nasty mouth ! 
I do retort the solus in thy bowels. 
Nym. I am not Barbason, you cannot conjure me. I have an humor 
to knock you indifferently well. If you grow foul with me, Pistol, I 
will scour you with my rapier, as I may, in fair terms ; if you would 
Walk off, I would prick your hide a little, in good terms, as I may ; and 
that's the humor of it. 
Pistol. 0, braggard vile, and damned furious wight ! 
The grave doth gape, and doting death is near. 
Therefore exhale. (Pistol and Nym draiv.) 
Bar. Hear me — hear me, what I say. He that strikes the first stroke, 
I'll run him up to the hilts, as I am a soldier, (dratvs.) 
Pistol. An oath of mickle might, and fury shall abate. 
Give me thy fist, thy fore-foot to me give ; 
Thy spirits are most tall. 
Nym. I will cut my throat, one time or other, in fair terms ; that is 
the humor of it. 

Pistol. Coupe le gorge, that's the word — I defy thee again. 
0, hound of Crete, think'st thou my spouse to get T 
" No ! to the 'spital go, 
And from the powdering tub of infamy, 
Fetch forth the lazar kite of Cressid's kind, 
Doll Tearsheet she by name, and her espouse ; 
I have and I will hold, the quandame Quickly 
For the only she; and — Vanca, there's enough. 
Bar. Come, shall I make you two friends'? We must to France to- 



18 LENRY THE FIFTH. [ACT I. 

gether. Why the devil should we keep knives to cut one another's 
throats 1 
Pistol. Let floods o'erswell, and fiends for food howl on ! 
Nym. You'll pay me the eight shillings I won of you at betting 1 
Pistol. Base is the slave that pays. 
Nym. That now I will have ; that's the humor of it. 
Pistol. As manhood shall compound, push home. 
Bar. By this sword, he that makes the first thrust, I'll kill him ; by 
this sword, I will. 
Pistol. Sword is an oath, and oaths must have their course. 
Bar. Corporal Nym, as thou wilt be friends, be friends; and thou 
wilt not, why, tlien be enemies with me too. Prithee, put up. 
Nym. I shall have my eight shillings I won of you at betting. 
Pistol. A noble shalt thou have, and present pay ; 
And liquor likewise will I give thee. 
And friendship shall combine, and brotherhood ; 
I'll live by Nym, and Nym shall live by me — 
Is not this just 1 — for I shall sutler be 
Unto the camp, and profits will accrue. 
Give me thy hand. 
Nym. I shall have my noble 1 

Pistol. In cash most justly paid. 

Nym. Well, then, that's the humor of it. 
Pistol. Bardolph, be blithe — Nym, rouse thy vaunting veins ; 
Boy, bristle thy courage up, for FalstafF he is dead. 
And we must yearn therefore. 
Bard. Would I were with him, wheresome'er he is. 
Quick. Nay, sure, he's in Arthur's bosom, if ever man went to 
Arthur's bosom. 'A made a finer end, and went away, an it had been 
any christom child; 'a parted even just between twelve and one, e'en 
at the turning o' the tide ; for after I saw bim fumble with the sheets, 
and play with flowers, and smile upon his fingers' ends, I knew there 
was but one way ; for his nose was as sharp as a pen, and 'a babbled of 
green fields. " How now, Sir John," quoth I ; " what, man ! be of good 
cheer." So 'a cried out — "Heaven! heaven! heaven!" three or four 
times ; now I, to comfort him, bid him 'a should not think of heaven ; 
I hoped there was no need to trouble himself with any such thoughts 
yet. So 'a bade me lay more clothes on his feet; I put my hand into 
the bed, and felt them, and they were as cold as any stone. 
Nym. They say, he cried out of sack. 
Quick. Ay, that 'a did. 

Bard. And of women. 
Quick Nay, that 'a did not. 

Boy. Yes, that 'a did ; and said they were devils incarnate. 
Quick. 'A could never abide carnation ; 'twas a color, he never liked. 
Boy " 'A said once, the devil would have him about women. 
Quick. 'A did in some sort, indeed, handle women ; but then he was 

rheumatic." 
Boy. Do you not remember, 'a saw a flea stick upon Bardolph's nose ; 
and 'a said it was a black soul burning in flames ? 

Bard. Well, the fuel is gone that maintained that fire ; that's all the 
riches I got in his service. 

Nym. Shall we shog ? the king will be gone from Southampton. 
Pistol. Come, let's away. My love, give me thy lips. 
Look to my chattels, and my movables ; 
Let senses rule ; the word is " Pitch and pay ; " 
Trust none ; 



ACT 1. 1 HENRY THE FIFTH. 19 

For oaths are straws, men's faiths are wafer-cakes, 
And hold-fast is the only dog, my duck ; 
Therefore, caveto be thy counsellor. 
Go, clear thy crystals. Yoke-fellows in arms, 
Let us to France ! like horse-leeches, my boys ; 
To suck — to suck — the very blood to suck ! 

Boy. And that is but unwholesome food, they say. 

Pistol. Touch her soft mouth, and march. 

Bard. Farewell, hostess, {hissing her.) 

Nym. I cannot kiss, that is the humor of it ; but adieu . 

Pistol. Let housewifery appear ; keep close, I thee command. 

Quick. Farewell ; adieu ! [Exeunt. 

Boy. As young as I am, I have observed these three swashers. I am 
boy to them all three ; but all they three, though they would serve me, 
could not be man to me ; for, indeed, three such antics do not amount 
to a man. For Bardolph — he is white-livered, and red-faced; by the 
means whereof 'a faces it out, but fights not. For Pistol — he hath a 
killing tongue and a quiet sword, by the means whereof 'a breaks words, 
and keeps whole weapons. For Nym — he hath heard that men of few 
words are the best men ; and therefore he scorns to say his prayers, lest 
he should be thought a coward. But his few bad words are match'd 
with a few good deeds ; for 'a never broke any man's head but his own, 
and that was against a post when he was drunk. They will steal any- 
thing and call it purchase. Bardolph stole a lute-case, bore it twelve 
leagues, and sold it for three half-pence. Nym and Bardolph are sworn 
brothers in filching. They would have me as familiar with men's pock- 
ets, as their gloves or their handkerchiefs ; which makes much against 
my manhood, if I should take from another's pocket, to put into mine ; 
for it is plain pocketing up of wrongs. I must leave them, and seek 
some better service ; their villainy goes against my weak stomach, and 
therefore I must cast it up. [Exit Boy, r.* 

SCENE IV. — Cloud drop descends, and Rumor (Chorus) rises on cloud 
bank, through trap, c. 

Rumor. Now all the youth of England are on fire, 
And silken dalliance in the wardrobe lies ; 
Now thrive the armorers, and honor's thought 
Reigns solely in the breast of every man ; 
They sell the pasture now, to buy the horse ; 
Following the mirror of all Christian kings, 
With winged heels, as English Mercuries. 
For now sits expectation in the air ; 
And hides a sword, from hilts unto the point, 
With crowns imperial, crowns and coronets, 
Promis'd to Harry and his followers. 
The French, advis'd by good intelligence 
Of this most dreadful preparation, 
Shake in their fear ; and with pale policy 
Seek to divert the English purposes. 

* In Mr. Macready's and Mr. Kean's versions of the play, the quarrel scene (the 
first of the Second Act in the unrevised editions) was omitted, and the Third Scene 
of the Second Act interpolated in its place. Mr. Charles Calvert has, however, by a 
slight alteration of the text, and the transposition of lines, succeeded in condensing 
into this scene the pilh aad marrow of the first and third scenes of the Secoud Act, 
which he ends with the Boy's speech, ingeniously transposed from the Second Scene 
of the Third Aet. 



20 HEN LIT THE FIFTH. [ACT I. 

0, England ! model to thy inward greatness, 

Like little body with a mighty heart, 

What might'st thou do, that honor would thee do, 

Were all thy children kind and natural ! 

But see thy fault ! France hath in thee found out 

A nest of hollow bosoms which he fills 

With treacherous crowns ; and three corrupted men — 

One, Richard, Earl of Cambridge ; and the second, 

Henry, Lord Scroop, of Masham ; and the third, 

Sir Thomas Grey, knight of Northumberland — 

Have, for the gilt of France, (0 ! guilt, indeed !) 

Confirm'd conspiracy with fearful France ; 

And by their hands this grace of kings must dio 

(If hell and treason hold their promises), 

Ere he take ship for France. 

Clouds open at bach, disclosing tableau — Scroop, Cambridge, and Grei", 
receiving gold from a French officer. Music. Aperture closes. 

The sum is paid ; the traitors are agreed ; 
The king is set from London ; and the scene 
13 now transported to Southampton, (clouds disperse, and Rumor 
descends through trap.} 

SCENE V. — The sea shore at Southampton — The English Fleet at anchor* in 
the background. Exeter, Bedford, Westmoreland, discovered, l. — ■ 
Scroop, Cambridge, and Grey, r — Lords, Soldiers, and atten- 
dants, moving hither and thither, at bach. 

Bed. 'Fore Heaven, his grace is bold to trust these traitors.f 

* The King had a -vessel 186 feet in length from the onmost end of the stern onto 
the post behind. The stern was in height 96 feet, and the keel in length 112 feet. 
The topcassles were not the forecassles, but were castellated enclosures at the mast 
heads, in which the pages to the officers were stationed during an engagement, in 
order to annoy the enemy with darts and other missiles. — Vide Illuminations to Frois- 
sart. 

Some had three and others only two masts, with short topmasts, and a " fore- 
stage," or "forecassle," consisting of a raised platform or stage, which obtained the 
name of castle from its containing soldiers, and probably from its having bulwarks. 
— Enc. Brit. 

Tyler holds the opinion that Henry of Monmouth should be regarded as the foun- 
der of the British Navy. Sir Henry Ellis, in his publication, suggests the same view, 
and many facts tend to confirm and illustrate it. 

The Bell Rolls record the payment of a pension, which bears testimony to the in- 
terest taken by Henry in his infant navy, and to the kindness with which he reward- 
ed those who had faithfully served him. The pension is stated to have been given 
to John Hoggekyns, master carpenter, of special grace, because by long working at 
the ships his body was much shaken and worsted. 

When he sailed from Southampton, in his first expedition to France, he went on 
board his own good ship " The Trinity." 

The high importance which Henry attached to these rising bulwarks of his coun- 
try, shows itself in various ways ; in none more curious and striking than (a fact, it 
is presumed, new to his history) in the solemn religious ceremony with which they 
were consecrated before he committed them to the mighty waters. One of the high- 
est order of the Christian ministry was employed, and similar devotions were per- 
formed at the dedication of one of the royal " great ships," as we should find in the 
consecration of a cathedral. They were called also by some of the holiest of all 
names ever uttered by Christians. Thus at the completion of the good ship "The 
Gracedieu," at Southampton, the venerable father in Christ, the Bishop of Bangor, 
wa3 commissioned by the King's council to proceed from London, at the public ex- 
pense, to consecrate it — Tyler. 

t His men shipped, and the King himself ready to go on board ; a conspiracy 
against his life is discovered, forged by Bichard, Earl of Cambridge; Henry, Lord 



ACT I.] HENRY THE FIFTH. 21 

Exe. They shall be apprehended, by-and-by. 

West. How smooth and even they do bear themselves ! 

As if allegiance in their bosoms sat, 

Crowned with faith and constant loyalty. 
Bed. The king hath note of all that they intend, 

By interception which they dream not of.* 
Exe. Nay, but the man that was his bedfellow 

Whom he hath d ul I'd and cloy'd with gracious favors — 

That he should, for a foreign purse, so sell 

His sovereign's life to death and treachery ! 

Flourish. Enter King Henry, and attendants, l. u. e. 

King, (c.) Now sits the wind fair, and we will aboard. 

My Lord of Cambridge — and my kind Lord of Masham, 

And you, my gentle knight, give me your thoughts. (Scroop, 
Cambridge, and Grey advance a step or two from u. toward c.) 

Think you not, that the powers we bear with us, 

Will cut their passage through the force of France? 
Scroop. No doubt, my liege, if each man do his best.f 
King. I doubt not that ; since Ave are well persuaded, 

We carry not a heart with us from hence, 

That grows not in a fair consent with ours. 

" Nor leave not one behind, that doth not wish 

Success and conquest to attend on us. 
Camb. Never was monarch better fear'd and lov'd,^: 

Than is your majesty ; there's not, I think, a subject 

That sits in heart-grief and uneasiness 

Under the sweet shade of your government. 
Grey. True, those that were your father's enemies, 

Have steep'd their galls in honey; and do serve you 

With bearts create of duty and of zeal. 
King. We therefore have great cause of thankfulness ; 

And shall forget the office of our hand, 

Sooner than quittance of desert and merit, 

According to the weight and worthiness. 

Uncle of Exeter, 

Enlarge the man committed yesterday, (Exetek crosses r., speaks 
to Captain of Guard who goes off, r. 2 e., returning immedi- 
ately accompanied by Soldier, whose arms are pinioned — Cap- 
tain removes cord, and Soldikr crosses c, and kneels) 

That rail d against our person ; we consider, 

It was excess of wine that set him on ; 

And, on his more advice, we pardon him. 

Scroop of Masham, the Lord Treasurer, and Sir Thomas Grey, of Northumberland, 
who, being suborned by the French for a million of gold, as upon their apprehension 
they confessed (though their indictment contains other matter), were all three put 
to death ! which was no sooner performed but that the wind blowing fair, King 
Henry weighs anchor, and with a fleet of 160 ships, sets sail on Lady Day, An 1414. 
— Sanfords Genealogical History of the Kings. 

* It is recorded that though this plot was solely to place the young Earl of March 
on the throne, he himself informed the king of its existence so attached was he to 
the person of Henry, who had treated him with unusual magnanimity. 

t Henry, Lord Scroop of Masham, was third husband of Joan, Duchess of York 
(she had four), mother-in-law of Richard, Earl of Cambridge. 

X Richard, Earl of Cambridge, was Richard de Coninsbury, younarer son of Edmund 
of Langley, Duke of York. He was father of Richard, Duke of York, father of Ed- 
ward the Fourth. 



22 HENRY 5 HE FIFTH. [_ACT I. 

Scroop. That's mercy, bat too much security ; 

Let him be punish'd, sovereign ; lest example, 
Breed, by his sufferance, more of such a kind. 
King. 0, let us yet be merciful. 
Cams. So may your highness, and yet punish too. 
Grey. Sir, you show great mercy, if you give him life, 

After the taste of much correction. 
King. Alas! your too much love and care of me 

Are heavy orisons 'gainst this poor wretch. 

If little faults, proceeding on distemper, 

Shall not be wink'd at, how shall we stretch our eye 

When capital crimes, chew'd, swallow'd, and digested, 

Appear before us 1 We'll yet enlarge that man, 

Though Cambridge, Scroop, and Grey, in their dear care, 

And tender preservation of our person, 

Would have him punish'd. (Soldier arises, and retires, r.) 

And now to our French causes ; 

Who are the late commissioners? 
Camb. I one, my Lord ; 

Your highness bade me ask for it to-day. 
Scroop. So did you me, my liege. 

Ghey. And me, my royal sovereign. 

King. Then, Richard, Earl of Cambridge, there is yours ; 

There yours, Lord Scroop of Masham ; and, sir knight, 

Grey of Northumberland, this same is yours. 

Read them, and know, I know your worthiness. 

My Lord of Westmoreland, and uncle Exeter, 

We will aboard to-night. Why, how now, gentlemen ? 

What see you in those papers, that you lose 

So much complexion ? Look ye, how they change ! 

Their cheeks are paper. Why, what read you there, 

That hath so cowarded and chas'd your blood 

Out of appearance ? 
Camb. I do confess my fault ; 

And do submit me to your highness' mercy. 
Grey. 



croop. 



> To which we all appeal. 



King. The mercy that was quick in us but late, 

By your own counsel is suppress'd and kill'd. 

You must not dare, for shame, to talk of mercy ; 

For your own reasons turn into your bosoms, 

As dogs upon their masters worrying them. 

See you, my princes, and my noble peers, 

These English monsters ! My Lord of Cambridge here — 

You know how apt our love was, to accord 

To furnish him with all appertinents 

Belonging to this honor ; and this man 

Hath, for a few light crowns, lightly conspir'd, 

And sworn unto the practices of France, 

To kill us here in Hampton ; to the which 

This knight, no less for bounty bound to us 

Than Cambridge is, hath likewise sworn. But ! 

What shall I say to thee, Lord Scroop 1 thou cruel, 

In grateful, savage, and inhuman creature 1 

Thou, that didst bear the key of all my counsels, 

" That know'st the very bottom of my soul," 

That almost might have coined me into gold, 



ACT I.J HENET THE FIFTII. 23 

Wouldst thou have practis'd on me for thy use ; 
May it be possible, that foreign hire 
Could out of thee extract one spark of evil, 
That might annoy my finger ] 'tis so strange, 
That, though the truth of it stands off as gross 
As black from white, my eye will scarcely see it. 
And whatsoever cunning fiend it was 
That wrought upon thee so preposterously, 
Hath got the voice in hell for excellence. 
If that same demon, that hath gull'd thee thus, 
Should with his lion gait walk the whole world, 
He might return to vasty Tartar back, 
And tell the legions, I can never win 
A soul so easy as that Englishman's. 
0, how hast thou with jealousy infected 
The sweetness of affiance ! Show men dutiful ? 
Why, so didst thou : Seem they grave and learned 1 
Why, so didst thou : Come they of noble family ? 
Why, so diclst thou: Seem they religious? 
Why, so didst thou :" I will weep for thee, 
For this revolt of thine, methinks, is like 
Another fall of man. Their faults are open. 
Arrest them to the answer of the law ; 
And God acquit them of their practices ! 
Exe. {crossing, r., followed by Captain of Guard. To Cambridge). I 

arrest thee of high treason, by the name of Richard, Earl of 

Cambridge. 
{to Scroop) 1 arrest thee of high trea on, by the name of Henry, 

Lord Scroop, of Masham. 
{'o Grey) I arrest thee of high treason, by the name of Thomas 

Grey, knight of Northumberland, {each unsheaths his sword, 

and surrenders it to the Captain, who after receiving Grey's 

sword retires, R.) 
Scitoop. Our purposes Heaven justly hath discovered ; 
And I repent my fault more than my death ; 
" Which I beseech your highness to forgive, 
Although my body pay the price of it." 
Cam. For me — the gold of France did not seduce ;* 
Although I did admit it as a motive, 
The sooner to effect what I intended. 
King. Heaven quit you in its mercy ! Hear your sentence. 
You have conspir'd against our royal person, 
Johvd with an enemy proclaim'd, and from his coffers 
Received the golden earnest of our death ; 
Wherein you would have sold your king to slaughter, 
His princes and his peers to servitude, 
His subjects to oppression and contempt 
And his whole kingdom into desolation. 
Touching our person, seek we no revenge ; 
But we our kingdom's safety must so tender, 
Whose ruin you have sought, that to her laws 
We do deliver you. Get you therefore hence, 
Poor miserable wretches, to your death; 
The taste whereof, Gcd, of His mercy, give you 

* The confession of the Earl of Cambridge and his supplication for mercy, in hia 
own handwriting, are in the British Museum. 



24 BENET THE FIFTH. [ACT 11, 

Patience to endure, and true repentance 
Of all your dear offences ! Bear them hence. 
[Exeunt Grey, Scroop, and Cambridge, with Captain of Guard, r. 2 e. 
Now, lords, for France ; the enterprise whereof 
Shall be to you, as us, like glorious. 
We doubt not of a fair and lucky war ; 
Since Heaven so graciously hath brought to light 
This dangerous treason, lurking in our way, 
To hinder our beginnings ; — 
Then forth, dear countrymen ; let us deliver 
Our puissance into the hand of God, 
Putting it straight in expedition.* 
" Cheerily to sea — the signs of war advance, 
No King of England, if not King of France, {goes up — Soldiers 
shout. Music. — Quick Curtain.) 



ACT II. 



6CENE I. — Throne. Room in the Palace of Charles VI. King discovered 
seated on throne, c. Dauphin, r. c, Duke of Burgundy/^ and Con- 
stable, l. c. Nobles attached to the Court of France, r. and l. 
Music. 

Charles4 Thus come the English with full power upon us ; 

And more than carefully it us concerns, 

To answer royally in our defences. 

Therefore the Dukes of Berry, and of Bretangc, 

Of Brabant, and of Orleans, shall make forth — 

And you, Prince Dauphin — with all swift despatch, 

To line, and new repair, our towns of war, 

With men of courage, and with means defendant. 
Dauph.§ (c). " My most redoubted father, 

It is most meet we arm us 'gainst the foe ;" 

But let us do it with no show of fear ; 

No, with no more, than if we heard that England 

Were busied with a Whitsun morris dance ; 

For, my good liege, she is so idly king'd, 

Her sceptre so fantastically borne 

* But the grandest ship of all that went 
Was that in which our good king sailed.— Old Ballad. 

t John, Duke of Burgundy, surn imed the Fearless, succeeded to the Dukedom in 
1403. He caused tbe Duke of Orleans to be assa sinated in the streets of Paris, and 
was himself murdered Aug. 28th, 1419, on tiie bridge of Montereau, at an interview 
with the Dauphin, afterwards Charles VII. John was succeeded by his only son, 
who bore the title of Philip tbe Good, Duke of Burgundy. 

X Charles VI., surname 1 the Well-Beloved, was King of France during the most 
disastrous period of its history. He ascended the throne in 1380, when only thirteen 
years of age. In 1385 he married Isabella of Bavaria, who was equally remarkable 
for her beauty and her depravity. The unfortunate king was subject to fits of in- 
sanity, which lasted for several months at a time. On the 21st of October, 1422, 
seven years after the battle of Agincourt, Charles VI. ended his unhappy life, at tbe 
age of litty-nve, having reigned lorty-two years. 

§ Lewis, the Dauphin, was the eldest son of Charles VI. He was born 22d Jan- 
uary, 1396, and died before his father, December 18th, 1415, in his twentieth year. 
History says : " Shortly after the battle of Agincourt, eitfier for melancholy that he 
had for the loss, or bv some sudden disease, Lewis, Dovphin of Viennois, heir ap- 
parent to the French king, departed this life without issue." 



A.CT II.] HENRY THE FIFTH. 25 

By a vain, giddy, shallow, humorous youth, 

That fear attends her not. 
Constable.* peace, Prince Dauphin ! 

You are too much mistaken in this king. 

Question, your grace, the late ambassadors — 

With what great state he heard their embassy, 

How well supplied with noble counsellors, 

How modest in exception, and withal, 

How terrible in constant resolution — 

Your grace shall find his vanities fore-spent 

Were but the outside of the Koman Brutus, 

Covering discretion with a coat of folly, 

As gardeners do with ordure hide those roots 

That shall first spring and be most delicate. 
Dadph. Well, 'tis not so, my lord high constable, 

But though we think it so, it is no matter ; 

In case of defence, 'tis best to weigh 

The enemy more mighty than he seems. 

Enter Montjoy, l. 2 e. He advances and kneels before the Kino. 

Montjoy. Ambassadors from Harry, King of England, 

Do crave admittance to your majest} 7 . 
Charles. We'll give them present audience. Go, and bring them. 

[Exeunt Montjoy and Lords, l. 2 e. 

You see this chase is hotly foliow'd, friends. 
Dauph. Turn head, and stop pursuit ; for coward dogs 

Most spend their mouths, when what they seem to threaten 

Runs far before them. "Good, my sovereign, 

Take up the English short, and let them know 

Of what a monarchy you are the head." 

Enter Exeter, attended by English Lords, preceded by Mountjoy, l. 2 E. 

Charles. From our brother of England 1 

Exe. From him ; and thus he greets your majesty. 

He wills you, in the name of Heaven, 

That you divest yourself and lay apart 

The borrow'd glories, that by gift of Heaven, 

By law of nature, and of nations, 'long 

To him and to his heirs ; namely, the crown, 

And all the wide- stretched honors that pertain, 

By custom and the ordinance of times, 

Unto the crown of France. That you may know 

>Tis no sinister nor no awkward claim, 

Pick'd from the worm-holes of long vanish'd days, 

Nor from the dust of long oblivion rak'd, 

He sends you this most memorable line, (gives a paper to Mont- 
joy, who delivers it kneeling to the King) 

In every branch truly demonstrative ; 

Willing you overlook this pedigree : 

And, when you find him evenly deriv'd 

From his most fam'd of famous ancestors, 

Edward the Third, he bids you then resign 

* The Constable, Charles D'Albret, commanded the French army at the battle of 
Agincourt, and was slaiu oa. the field. 



26 HENKY THU FIFTH. [ACT II. 

Your crown and kingdom, indirectly held 

From him the native and true challenger. 
Charles. Or else what follows 1 
Exe. Bloody constraint ; for if you hide the crown 

Even in your hearts, there will he rake for it: 

And therefore in fierce tempest is he coming, 

In thunder and in earthquake, like Jove ; 

That, if requiring fail, he will compel. 

This is his claim, his threatening, and my message, 

Unless the dauphin be in presence here, 

To whom expressly I bring greeting too. 
Charles. For us, we will consider of this further : 

To-morrow shall you bear our full intent 

Back to our brother England. 
Dauph. {advancing, r.). For the dauphin 

I stand here for him : what to him from England ? 
Exe. Scorn and defiance ; slight regard, contempt, 

And anything that may not misbecome 

The mighty sender, doth he prize you at. 

Thus says my king ; and if your father's highness 

Do not, in grant of all demands at large, 

Sweeten the bitter mock you sent his majesty, 

He'll call yon to so hot an answer for it, 

That caves and womby vaultages of France 

Shall chide your trespass, and return your mock 

In second accent of his ordnance. 
Dauph. Say, if my father render fair reply, 

It is against my will ; for I desire 

Nothing but odds with England : to that end, 

As matching to his youth and vanity, 

I did present him with those Paris balls. 
Exe. He'll make your Paris Louvre shake for it; 

" And, be assur'd, you'll find a difference 

Between the promise of his greener day 

And these he masters now : now he weighs time, 

Even to the utmost grain ; — that you shall read 

In your own losses, if he stay in France." 
Charles. To-morrow shall you know our mind at full. 
Exe. Despatch us with all speed, lest that our king 

Come here himself to question our delay ; 

For he is footed in this land already. 
Charles. You shall be soon despatch d with fair conditions 

A night is but small breath, and little pause, 

To answer matters of this consequence. 
[Exeunt Montjoy. Exeter, and others, l. 2 e. French Nobles group 
about King. Music. 

SCENE II. — Cloud drop descends, and Rumor rises on bank through trap, c* 

Rumor. Thus with imagin'd wing our swift scene flies, 
In motion of no less celerity 

Than that of thought. Suppose that you have seen 
The well appointed king, at Hampton pier 
Embark his royalty ; and his brave fleet, 

* At Covent Garden Theatre a panoramic view of the voyage of the English fleet 
from England to France was given during the above scene. 



ACT II. 



HENKT THE FIFTH. 27 



With silken streamers the young Phoebus fanning. 
Play with your fancies, and in them behold 
Upon the hempen tackle, ship-boys climbing; 
Hear the shrill whistle which doth order give 
To sounds confus'd : behold the threaden sails 
Borne with the invisible and creeping wind, 
Draw the huge bottoms through the furrow'd sea, 
Breasting the lofty surge: oh ! do but think 
You stand upon the rivage, and behold 
A city on the inconsistent billows dancing ; 
For so appears this fleet majestical, 
Holding due course to Harfleur. Follow ! follow 
Grapple your minds to steerage of this navy — 
And leave your England, as dead midnight still, 
Guarded with grandsires, babies, and old women, 
Either past or not arriv'd to pith and puissance, 
For who is he whose chin is but enrich'd 
With one appearing hair, that will not follow 
-These cull'd and choice drawn cavaliers to France ] 
Work, work your thoughts, and therein see a siege. 
Behold the ordnance on their carriages, 
With fatal mouths gaping on girdled Harfleur ! 
The nimble gunner 
With linstock now the divilish cannon touches, {sound of cannon in 

the distance) 
And down goes all before them ! {clouds disperse, and Rumor de- 
scends through trap.) 

SCENE III. — The English position before Harfleur — Marked indications of 
a severe struggle having recently taken place. The walls of Harfleur ex- 
tend obliquely up stage, from r. 3 E . to r. c. gate of city, a little above 
r. 3 E. The walls stand upon an elevation, leading up to which is a rap, 
starting from l. c. , which is masked in with rock and earth fiieces. Sol- 
diers with ladders, l. Archers, r. c. fire volley of arroivs, then 
retreat, l., followed by Soldiers with ladders. The head of the English 
Army, l., cannon, l. c. 

Enter hastily, King Henry, l. u. e., followed by Exeter, Bedford, and 

Gloster. 

King {upon run, about a). Ones more unto tne breach, dear friends, once 
more, 
Or close the wall up with our English dead ! 
In peace there's nothing so becomes a man 
As modest stillness and humility ; 
But when the blast of war blows in our ears, 
Then imitate the action of the tiger ; 
" Stiffen the sinews, summon up the blood, 
Disguise fair nature with hard-favor' d rage ; 
Then lend the eye a terrible aspect ; 
Let it pry through the portage of the head 
Like the brass cannon ; let the brow o'erwhelm it 
As fearfully as doth a galled rock 
O'erhang and jutty his confounded base 
Swill' d with the wild and wasteful ocean. 
Now set the teeth and stretch the nostril wide, 
Hold hard the breath and bend up every spirit 



cX 



28 HENRY THE FIEIH. [a.CT II. 

To his full height!" On, on, you noble English, 
Whose blood is fet from fathers of war-proof! 
"Fathers, that like so many Alexanders, 
Have, in these parts, from morn till even fought, 
And sheath'd their swords for lack of argument." 
Dishonor not your mothers ; " now attest, 
That those, whom you call'd fathers, did beget you. 
Be copy now to men of grosser blood, 
And teach them how to war ! And you, good yeomen, 
Whose limbs were made in England, show us here 
The mettle of your pasture ;" let us swear 
That you are worth your breeding ; which I doubt not, 
For there is none of you so mean and base, 
That hath not noble lustre in your eyes. 
I see you stand like greyhounds in the slips, 
Straining upon the start. The game's afoot; 
Follow your spirit; and upon this charge, 

Cry— God for Harry ! England ! and Saint George ! (Soldiers 
c/ieer, and follow King up run.) 

SCENE IV. — In the neighborhood of the mines. 

Enter, alarmedly, Bardolph, Nym, Pistol, and the Boy, r. 1 e. 

Bar. On, on, on, on, on ! to the breach, to the breach ! 
Nym 'Pray thee, corporal, stay; the knocks are too hot; and, for 
mine own part, I have not a case of lives : the humor of it is too hot, 
that is the very plain-song of it. 
Pistol. The plain-song is most just ; for humors do abound ; 
Knocks go and come ; our vassals drop and die ; 
And sword and shield, 
In bloody field, 
Doth win immortal fame. 
Boy. 'Would I were in an alehouse in London ! I would give all my 
fame for a pot of ale and safety. 
Pist. And I : 

If wishes would prevail with me, 
My purpose should not fail with me, 

But thither I would hie. [Exeunt, l. 1 e. 

Enter, severally, Captain Gower and Fluellen, r. 1 e. 

Gower. Captain Fluellen, you must come presently to the mines ; the 
Duke of Gloster would speak with you. 

Flu. To the mines ! tell you the duke it is not so good to come to the 
mines : For, look you, the mines is not according to the disciplines of the 
war ; the concavities of it is not sufficient ; for, look you, th' athversars 
(you may discuss unto the duke, look you) is digged himself four yards 
under the countermines ; by Saint Tavy, I think 'a will plow up all, if 
there is not better directions. 

Gower. The Duke of Gloster, to whom the order of the siege is given.* 
is altogether directed by an Irishman ; a very valiant gentleman, i' faith. 

Flu. It is Captain Macmorris, is it not 1 

* The Duke of Gloucester, to -whom the order of the assaulte wascomittcl, made 
thre myues under the ^rouud, and approached the walles with ordinaunce and en- 
gynes and would not gutter theim within to rest'e at any tyme.— HaWs Chronich. 



ACT II.] HENEY THE FIFTH. 29 

Gower. I think it be. 

Flu. By Saint Tavy, he is an ass as in the 'orld :» I will verify as much 
in his peard ; ha has no more directions in the true disciplines of the 
wars, look you, of the Roman disciplines, than is a puppy-dog. 

Gowek. Here 'a comes, and the Scots captain, Captain Jamy, with him. 

Flu. Captain Jamy is a marvellous falorous gentleman, that is cer- 
tain ; and. of great expedition and knowledge in the ancient wars, upon 
my particular knowledge of his directions : by Saint Tavy, he will man- 
lain his argument as well as any military man in the 'orld in the disci- 
plines of the pristine wars of the Romans. 

Enter Macmoukis and Jamy, l. 1 e. 

Jamy. I say, gud-day, Captain Fluellen. 

Flu. God-den to your worship, goot Captain Jamy. 

Gowek. How now, Captain Macmorris t have you quit the mines 1 
have the pioneers given o'er 1 

Mac. By Saint Patrick, tish ill done : the work ish give over, the 
trumpet sound the retreat. By my hand I swear, and my father's soul, 
the work ish ill done ; it ish give over ; I would have blovved up the 
town. 0, tish ill done, tish ill done ; by my hand, tish ill done. 

Flu. Captain Macmorris, I peseech you now, will you voutsafe me, 
look you, a few disputations with you, as partly touching or concerning 
the disciplines of the war, the Roman wars, in the way of argument, 
look you, and friendly communication ; partly to satisfy my opinion, 
and partly for the satisfaction, look you, of my mind, as touching the 
direction of the military disciplines 1 . that is the point. 

Jamy. It sail be vary gud, gud feith, gud captains bath ; and I sail 
quit you with gud leve, as I may pick occasion, that sail I. marry. 

Mac It is no time to discourse ; the day is hot, and the weather, and 
the wars, and the king, and the dukes : it is no time to discourse. The 
town is beseeched, and the trumpet calls us to the breach ; and we talk, 
and, s'death, do nothing ; 'tis shame for us all : by Saint Patrick, 'tis 
shame to stand still ; it is shame, by my hand : and there is throats to 
be cut, and. works to be done ; and there ish nothing done. 

Jamy. By the mess, ere these eyes of mine take themselves to slum- 
ber, aile do gude service, or aile ligse i' the grund for it ; ay, or go to 
death ; and aile pay it as valorously as I may, that sail I surely do, that 
is the breff and the long : Marry, I wad full fain heard some question 
'tween you tway. 

Flu. Captain Macmorris, I think, look you, under your corrections, 
there is not many of your nation 

Mac. Of my nation 1 What ish my nation ? ish it a villain, and a bas- 
tard, and a knave, and a rascal 1 What ish my nation 1 Who talks of my 
nation ? 

Flu. Look you, if you take the matter otherwise than is meant, Cap- 
tain Macmorris, peradventure I shall think you do not use me with affa- 
bility as in discretion you ought to use me, look you ; being as goot a 
man as yourself, both in the disciplines of wars, and in the derivation of 
my birth, and in other particularities. 

Mac I do not know you so good a man as myself: s'blood, I will cut 
off your head 

Gower. Gentlemen, both, you will mistake each other, {a parley sounded) 
The town sounds a parley. 

Flu. Captain Macmorris, when there is more better opportunity to be 
required, look you. I will be so bold as to tell you, I know the disci- 
plines of war ; and there is an end. [Exeunt, l. 1 e. 



30 TENRY THE FIFTH. [ACT II. 



SCENE V. — Before the walls of Harfleur. English Soldiers l. King 
Henry c. Governor of Town appears before gate with a flag of truce* 

King. How yet resolves the governor of the town 1 

This is the latest parle we will admit : 

Therefore to our best mercy give yourselves ; 

Or, like to men proud of destruction, 

Defy us to the worst : for, as I am a soldier 

(A name that, in my thoughts, becomes me best), 

If I begin the battery once again, 

I will not leave the half-achieved Harfleur 

Till in her ashes she lie buried. 

The gates of mercy shall be all shut up; 

And the flesh'd soldier, rough and hard of heart, 

In liberty of bloody hand shall range 

With conscience wide as hell ; mowing like grass 

Your fresh-fair virgins and your flowering infante. 

What reign can hold licentious wickedness 

When down the hill he holds his fierce career 1 

We may as bootless spend our vain command 

Upon the enraged soldiers in their spoil, 

As send precepts to the Leviathan 

To come ashore. Therefore, you men of Harfleur. 

Take pity of your town and of your people, 

Whiles yet my soldiers are in my command ; 

Whiles yet the cool and temperate wind of grace 

O'erblows the filthy and contagious clouds 

Of headly murther, spoil and villany. 

If not, why, in a moment, look to see 

The blind and bloody soldier with foul hand 

Defile the locks of your shrill-shrieking daughters ; 

Your fathers taken by the silver beards, 

And their most reverend heads dashed to the walls ; 

Your naked infants spitted upon pikes ; 

Whiles the mad mothers with their howls confus'd 

Do break the clouds, as did the wives of Jewry 

At Herod's bloody-hunting slaughtermen. 

What says you 1 will you yield, and this avoid 1 
Gov. Our expectation hath this day an end : 

The dauphin, whom of succors we entreated, 

Returns us — 'that his powers are yet not ready 

To raise so great a siege. Therefore, great king, 

We yield our town and lives to thy soft mercy : 

Enter our gates : dispose of us and ours ; 

For we no longer are defensible. 
King. Open your gates. — Come, uncle Exeter, 

Go you and enter Harfleur ; there remain, 

And fortify it strongly 'gainst the French : 

Use mercy to them all. For us, dear uncle, — 

The winter coming on, and sickness growing 

Upon our soldiers — we will retire to Calais — 

* "Whiles at last thei bette the towne toures their, 
And what the Kyng with fagpottes that there were, 
And his connyng werching under the wall, 
With is Gunes castyng thei made ye toure to fall. 

The. Chronicle of Hardyng, ccxiii. Chapiter. 



ACT II. J HENKY THE FIFTH. 31 

To-night in Harfleur we will be your guest — 
To-morrow for the march are we address'd. 

King Henry and Exeter ascend run, followed by the English army. They 
pass through the city gates. Music. 

SCENE VI. — Interior of the French Palace at Rouen. 

Enter King Charles,* the Dauphin, the Duke op Bourbon, ^Consta- 
ble of France, ^Duke of Orleans, and others, r. 

Charles. 'Tis certain he hath passed the river Somme. 
Const. And if he he not fought withal, my Lord, 
Let us not live in France. Let us quit all, 

And give our vineyards to a barbarous people. 
Bour. Mort de ma vie ! if they march along 

Unfought withal, but I will sell my dukedom, 

To buy a slobbery and a dirty farm 

In that nook-shotten isle of Albion. 
Const. Dieu de battail/es ! Where they this mettle 1 
Charles. Where is Montjoy, the herald 1 Speed him hence ; 

Let him greet England with our sharp defiance. 

Up, princes ! and with spirit of honor edged, 

More sharper than your swords — hie to the field ! 

Charles De-la-bret, high constable of France, 

You, Dukes of Orleans. Bourbon and Berry, 

AienQon, Brabant, Bar, and Burgundy — 

High dukes, great princes, barons, lords and knights, 

For your great seats, now quit you of great shames, 

Bar Harry England, that sweeps through our land 

With pennons painted in the blood of Harfleur ; 

Rush on his host as doth the melted snow 

Upon the valleys ; whose low, vassal seat 

The Alps doth spit and void his rheum upon ; 

Go down upon him — you have power enough — 

And in a captive chariot into Rouen 

Bring him our prisoner. 
Const. This becomes the great. 

Sorry am I his numbers are so few, 

His soldiers sick and famished in their march — 

For, I am sure, when he shall see our army, 

He'll drop his heart into the sink of fear, 

And, for achievement, offer us his ransom. 
Charles. Therefore, lord constable, haste on Montjoy, 

And let him say to England, that we send 

To know what willing ransom he will give. 

Prince Dauphin, you shall stay with us in Rouen. 

Dauph. Not so; I do beseech your majesty 

Charles. Be patient, for you shall remain with us. 

Now, forth, lord constable, and princes, all ; 

And quickly bring us word of England's fall ! 

[Exeunt King and Dauphin, r., and others l. 

* The French Kin? being at Roan, and hearing that the King of England had 
passed the water of Some was not a little discontente. * * * * And so Mount- 
joy, King at Armes, was sent to the King of England, to defye him as the enemie 
of .France. — Sloiv. 



32 HENRY THE FIFJLH. [ACT II. 

SCENE VI I.— -The English camp in Picardy * 
Enter Gower, l. 3 e., and Fluellen, r. 2 e., meeting, c. 

Gower. How now, Captain Fluellen 1 Come you from the bridge ? 

Flu. I assure you there is very excellent services committed at the 
pridge. 

Gower. Is the Duke of Exeter safe 1 

Flu. The Duke of Exeter is as magnanimous as Agamemnon, and a 
man that I love and honor with my soul, and my heart, and my duty, and 
my life, and my living, and my uttermost power. He is not (Heaven 
be praised and plessed!) any hurt in the 'orld ; but keeps the pridge 
most valiantly, with excellent disciplines. There is an ensign there at 
the pridge — I think, in my very conscience, he is as valiant a man as 
Mark Antony — and he is a man of no estimation in the 'orld ; but I did 
see him do gallant service. 

Gower. What do you call him 1 

Flu. He is called Ancient Pistol. 

Gower. I know him not. 

Enter Pistol, r. 2 e. 

Flu. Do you not know him ? Here is the man. 
Pistol. Captain, 1 thee beseech to do me favors; 
The Duke of Exeter doth love thee well. 
Flu. Ay, I praise Got ; and I have merited some love at his hands. 
Pistol. Bardolph, a soldier firm and sound of heart, 
And of buxom valor, hath— by cruel fate, 
And giddy fortune's furious fickle wheel, 
That goddess blind, 

That stands upon the rolling, restless stone 

Flu. By your patience, Ancient Pistol. Fortune is painted plind, 
with a muffler before her eyes, to signify to you that fortune is plind ; 
and she is painted also with a wheel, to signify to you, which is the 
moral of it, that she is turning, and inconstant, and variations, and mu- 
t tbilities ; and her foot, look you, is fixed upon a spherical stone, which 
rolls, and rolls, and rolls — in good truth, the poet makes a most excel- 
lent description of fortune : Fortune, look you, is an excellent moral. 
Pistol. Fortune is Bardolph's foe, and frowns on him ; 

For he hath stol'n a pax, and hanged must 'a be.f 

A damned death ? 

Let gallows gape for dog, let man go free, 

And let not hemp his windpipe suffocate ; 

But Exeter hath given the doom of death 

For pax of little price. 

Therefore, go speak, the duke will hear thy voice : 

And let not Bardolph's vital breath be cut 

* Then the dolphin and other lordes of Fraunce * * * brake the brydge, to 
lette ye kyng of his passage over ye water ot Sum Wherefore he was constrayned 
to tlrawe towarde Picardy, and so pass by the ryver of Peron, whereof the Frensh- 
men beynge ware assembled and lodged them at certayne townes named Agyncourt, 
Bolandcourfc, and Blanzy, with all the power of Fraunce. — Fabyan's Chronicles. 

t After his landing at Caur, Henry issued a proclamation, prohibiting his soldiers 
— on pain of death— from taking anything out of any ctmrch, or lying violent hands 
upon priests, women, or any such as should be without weapons or armor and una- 
ble to make resistance.— Ilolinshed. 



ACT II.] HENHY THE FIFTH. 33 

With edge of penny cord, and vile reproach ; 
Speak, captain, for bis life, and I will thee requite. 

Flo. Ancient Pistol, I do partly understand your meaning. 

Pistol. Why, then rejoice therefore. 

Flu. Certainly. Ancient, it is not a thing to rejoice at; for if, look 
you, he were my brother, I would desire the duke to use his goot pleas- 
ure, and put him to executions ; for disciplines ou^ht to be used. 

Pistol. Die and be damned, and Jl//o for thy friendship. 

Flu. It is well. 

Pistol. The fig of Spain ! [Exit Pistol, l. 2 e. 

Flu. Very good. 

Gower. Why, this is an arrant counterfeit 'rascal ; I remember him 
now ; a bawd ; a cutpurse. 

Flu. I'll assure you, 'a uttered as prave 'ords at the pridge, as you 
shall see in a summer's day. But it is very well ; what he has spoke to 
me, that is well, I warrant you, when time is serve. 

Gower. Why, 'tis a gull, a fool, a rogue; that now and then goes to 
the wars, to grace himself, at his return into London, under the form of 
a soldier. " And such fellows are perfect in great commanders' names, 
and they will teach you by rote, where service was done — at such and 
such a sconce, at such a breach, at such a convoy ; who came off bravely, 
who was shot, who disgraced, what terms the enemy stood on; and 
this they can perfectly, in the phrase of war, which they trick up with 
new tuned oaths. And what a beard of the general's cut, and a horrid 
suit of the camp, will do among foaming bottles and ale-wash'd wits ; is 
wonderful to be thought on ! But you must learn to know such slan- 
ders of the age, or else you may be marvellous mistook." 

Flu. I tell you what, Captain Gower, I do perceive he is not the man 
that he w?mld gladly make show to the 'orld he is ; if I find a hole in his 
coat, I will tell him my mind, {drum heard) Hark you, the king is com- 
ing, and I must speak with him from the pridge. 

Enter King Hexry, Gloster, Bedford, Westmoreland, Lords and 
Soldiers, l. 4 e. 

Flu. Got pless your majesty.. 

King. How now, Fluellen 1 cam'st thou from the bridge ? 

Flu. Ay, so please your majesty. The Duke of Exeter has very gal- 
lantly maintained the pridge ; the French is gone off, look you ; and 
there is gallant and most prave passages ; marry ! th' athversary was 
have possession of the pridge, but he is enforced to retire, and the Duke of 
Exeter is master of the pridge — I can tell your majesty, the duke is a 
prave man. 

King. What men have you lost, Fluellen 1 

Flu. The perdition of th' athversary hath been very great, reasonable 
great ; marry, for my part, I think the duke hath lost never a man, but 
one that is like to be executed for robbing a church ; one Bardolph, if 
your majesty know the man; his face is all bu'.uickles, and whelks, and 
knobs, and flames of fire; and his lips plows at his nose, and it is like a 
coal of fire, sometimes plue, and sometimes red ; but his nose is executed, 
and his fire's out.* 

King. We would have all such offenders so cut off; " and we give ex- 

* Yet in this great necessitie the poor people of the countrie were not spoiled, nor 
anie thing taken of them without payment, nor any outrage or offence doone by the 
Englishmen except one, which was that of a souldionr took a pix oufc of a church, for 
which he was apprehended, and the king not once remooved till the box was restored, 
and the offender strangled —H olinshed. *■--■■■ . -. 



34 HENKY THK FIFTH. [ACT II. 

press charge, that in our marches through the country, there be noth- 
ing compelled from the villages, nothing taken but paid for, none of the 
French upbraided or abused in disdainful language; for when lenity and 
cruelty play for a kingdom, the gentler gamester is the soonest winner." 

Trumpet. — Enter Montjoy* and two Guards, r. 2 e. 

Mont. You know me by my habit 1 

King. Well, then, I know thee — what shall I know of thee 1 
Mont. My master's mind. 
King. Unfold it. 

Mont. This says my king : " Say thou to Harry of England, though 
we seemed dead we did but sleep. Advantage is a better soldier than 
rashness. Tell him we could have rebuked him at Harfieur, but that 
we thought not good to bruise an injury till it were full ripe. Now we 
speak upon our cue, and our voice is imperial — England shall repent his 
folly, see his weakness, and admire our sufferance. Bid him therefore 
consider of his ransom, which must proportion the losses we have borne, 
the subjects we have lost, the disgrace we have digested ; which, in 
weight to re-answer, his pettiness would bow under. For our losses his 
exchequer is too poor; for the effusion of our blood, the muster of his 
kingdom too faint a number ; and, for our disgrace, his own person 
kneeling at our feet, but a weak and worthless satisfaction. To this add 
— defiance ; and tell him, for conclusion, he h ith betrayed his followers, 
whose condemnation is pronounced." So far, my king and master, so 
much my office. 
King. What is thy name 1 I know thy quality. 
Mont. Montjoy. m 

King. Thou dost thy office fairly. Turn thee back, 

And tell thy king — I do not seek him now ;f 

But could be willing to march on to Calais 

Without impeachment ; for, to say the sooth, 

(Though 'tis no wisdom to confess so much 

Unto an enemy of craft and vantage), 

My people are with sickness much enfeebled; 

My numbers lessen'd ; and those few I have 

Almost no better than so many French. 

Yet, forgive me, Heaven ! 

That I do brag thus ! — this your air of France 

Hath blown that vice in me ; I must repent. 

Go, therefore, tell thy master here I am ; 

My ransom is this frail and worthless trunk ; 

My army but a weak and sickly guard ; 

Yet, Heaven before, tell him we will come on 

Though France himself, and such another neighbor, 

Stand in our way. There's for thy labor, Montjoy. 

Go bid thy master well advise himself ; 

If we may pass, we will ; if we be hinder'd, 

* And so Montjoy, king-at-armes, was sent to the King of England to defie him as 
the enemie of France, and to tell him that he should shortlee hare battell— Holins- 
hed. 

t The king answered :— " Mine intent is to doo as it pleaseth God, I will not seeke 
your maister at this time : but if he or his seeke me, I will meet with them, God 
willing. If anie of your nation attempt once to stop me iu my journie now towards 
Calis, at their jeopardie be it, and yet wish 1 noi, anie of you so unadvised as to be 
the occasion that I die your tawnie ground with your red bloud." "When he had thus 
auswered the herald, he gave him a princelie reward and licence to depart.— Holins- 
hed. ■ - ' ' 



ACT III.] HENKY THE FIFTH. 35 

We shall your tawny ground with your red blood 

Discolor ; and so, Montjoy, fare you well. 

The sum of all our answer is but this : 

We would not seek a battle as we are ; 

Nor, as we are, we say we will not shun it ; 

So tell your master. 
Mont. I shall deliver so. Thanks to your highness. 

[Exit Montjoy, u. 2 e. 
Glos. I hope they will not come upon us now. 
King. We are in God's hand, brother, not in theirs. 

March to the bridge. It now draws towards night. 

Beyond the river we'll encamp ourselves, 

And on to-morrow bid them march away. 

Picture — Curtain. 



ACT III. 

SCENE I.— Clouds. Chorus (Rumok) discovered, c. 

Rumor. Now entertain conjecture of a time 

When creeping murmur and the poring dark, 
Fills the wide vessel of the universe. 
From camp to camp, through the foul womb of night, 
The hum of either army stilly sounds, 
That the fixed sentinels almost receive 
The secret whispers of each other's watch : 
Fire answers fire ; and through their paly flames 
Each battle sees the other's umber'd face : 
Steed threatens steed, in high and boastful neighs, 
Piercing the night's dull ear ; and from the tents, 
The armorers, accomplishing the knights, 
With busy hammers closing rivets up, 
Give dreadful note of preparation. 
Proud of their numbers, and secure in soul, 
The confident and over-lusty French 
Do the low-rated English play at dice ; 
And chide the cripple tardy-gaited night, 
Who, like a foul and ugly witch, doth limp 
So tediously away. The poor comdemned English, 
Like sacrifices, by their watchful fires 
Sit patiently, and inly ruminate 
The morning's danger ; and their gesture sad 
Investing lank-lean cheeks, and war-worn coats, 
Presenteth them unto the gazing* moon 
So many horrid ghosts, 0, now, who will behold 
The royal captain of this ruin'd band, 
Walking from watch to watch, from tent to tent, 
Let him cry— Praise and glory on his head ! 
For forth be goes, and visits all his host ; 
Bids them good morrow, with a modest smile : 
And calls them — brothers, friends and countrymen. 
Upon his royal face there is no note 

How; dread an army hath enrounded him. {clouds disperse^ andTLv- 
"mob disappears through trap, c.) '■-- ■■ i - 



36 HENKT THE FIFTH. [ACT III. 

SCENE II. — Interior of the French Dauphin's tent. Draper;/ drawn 
aside, making an opening, c., through which a view of the French camp is 
obtained. Lights well down. Tables r. and l., upon which are flagons of 
wine, goblets, dice-boxes and dice. Skntry passes at back at intervals. 
The Dauphin, Orleans, and others seated about table, u.. drinking and 
throwing dice. Constable, Rambures, and Lords about table, l.* 

Constable. Tut! I have the best armor of the world, — 
Would it were day! 

Orleans. You have an excellent armor, but let my horse have his due. 

Con. It is the best horse of Europe. 

Orleans Will it ever be morning ? 

Dauph. Why, lord of Orleans, and my lord high constable, you talk 
of horse and armor. 

Orleans. You are as well provided of both as any prince in the world. 

Dauph. What a long night is this ! I will not change my horse 
with any that treads but on four pasterns. Ca ha ! He bounds from 
the earth as if his entrails were hairs. Le cheval volant, the Pegasus, 
quia les narines de feu ! when I but ride him, I soar, I am a hawk — he 
trots the air — the earth sings when he touches it. The basest horn of 
his hoof is more musical than the pipe of Hermes. Will it never be 
day 1 I will trot to-morrow a mile, and my way shall be paved with 
English faces. 

Con. I will not say so, for fear I should be faced out of my way. But 
I would it were morning, for I fain would be about the ears of the Eng- 
lish. 

Orleans. My lord constable, the armor that I saw in your tent to- 
night — are those stars or suns upon it 1 

Con. Stars, my lord. 

Dauphin. Some of them will fall to-morrow, I hope 

Con. And yet my sky will not want 

Dauphin. That may be, for you bear many superfluously, and it were 
more honor some were away 

Con. Even as your horse bears your praises — who would trot as well, 
were some of your brags dismounted. 

Orleans. Who will go to hazard with me for twenty prisoners ! 

Con. You must first go yourself to hazard, ere you have them. 

Dauph. {rising). 'Tis past midnight. I'll go arm myself. 

[Exit Dauphin, c. 

Orleans. The dauphin longs for morning. 
He longs to eat the Engli;ah. 

Con. 1 think he will eat all he kills. 

Orleans. By the white hand of my lady, he's a gallant prince ! 

Con. Swear by her foot, that she may tread out the oath. 

Orleans. He is simply the most active gentleman of France. 

Con. Doing is activity — and he will still be doing. 

Orleans. He never did harm that I heard of. 

Con. Nor will do more to-morrow. He will keep that good name 
still 

Orleans. I know him to be valiant. 

Con. I was told that by one that knows him better than you. 

Orleans. What's he 1 

Con. Marry ! he told me so himself — and he said he cared not who 
knew it. 

* " They were lodged even in the waie by which the Englishmen must needs passe 
towards Calais, and all that night after their comming thither made great ciieare 
and were verie merie, pleasant, and full of game."— Holinshed's Chronicles. 



&.CT III.] HEN BY THE FIFTH. 37 

Enter Messenger, c. 

Messenger. My lord high constable, the English lie within fifteen 
hundred paces of your tent.* 

Con. Who hath measured the ground] 

Mes. The Lord Grandpre. 

Con. A valiant and most expert gentleman, (motions Messenger to 
depart.) [Exit Messenger, c. 

Would it were day ! Alas ! Poor Harry of England ! 
He longs not for the dawning, as we do. 

Orleans. What a wretched and peevish fellow is this King of Eng- 
land, to mope with his fat-brained followers so far out of his knowledge. 

Con. If the English had any apprehension, they would run away. 

Orleans. That they lack, for if their heads had any intellectual 
armor, they could never wear such heavy head-pieces. 

Con. That island of England breeds very valiant creatures. Their 
mastiffs are of unmatchabie courage. 

Orleans. Foolish cars ! that run winking into the mouth of a Rus- 
sian bear, and have their heads crushed like rotten apples. You may as 
well say, that's a valiant flea that dare eat his breakfast on the lip of a 
lion. 

Con. Just! just! and the men do sympathize with the mastiffs, in 
robustious and rough coming on, leaving their wits with their wives — 
and then give them great meals of beef, and iron and steel — they will 
eat like wolves, and fight like devils. 

Orleans. Ay! But these English are shrewdly out of beef. 

Con. Then shall we find to-morrow, they have only stomachs to eat and 
none to light. Now is the time to arm. Come, shall we about it 1 (ris- 
ing.) 

He-enter Dauphin, c. 

Dauph. It is now two o'clock — but let me see by ten 
We shall have each a hundred Englishmen. 

[Exeunt all, c, tables, etc., drawn off, r. and l. 

Change. 

SCENE III. — The English camp (night).-f Camp-fire l., opposite 3 e., about 
which are Soldiers collected. Soldiers r., sleeping. 

Enter King Hrnry, l. 3 e., meeting, c., Gloster and Bedford, who enter 

R. 2 E. 

King. Gloster, 'tis true that we are in great dunger, 
The greater therefore should our courage be. 
Good morrow, brother Bedford. 

Enter Sir Thomas Erpingham,^: l. 2 e. 

* Holinshed says that the distance between the two armies was but 250 paces. 

t The night was passed in silence and earnest devotion in the English camp, every 
one contemplated the morrow with an awful solemnity. The resolution to exert 
themselves to their last breath for their own preservation and honor was universal ; 
but their state of weakness from disease and suffering, and the vast superiority of 
the enemy, forbade much hope. — Sharon Turner. 

X Sir Thomas Erpingham came overwith Bolingbrolce from Brittany, and was one 
of the commissioners to receive King Richard's abdication. Holinshed describes him 
as " a man of great experience in the warre," and farther states that it was he whe 
gave the signal for archers, secreted in a meadow, to fire upon the French, and thua 
opened the famous battle of Agincourt. 



38 HKNILY THE FIFTH. [ACT III. 

Good morrow, old Sir Thomas Erpingliam : 

A good soft pillow for that good white head 

Were better than a churlish turf of France. 
Erp. Not so, my liege ; this lodging likes me better, 

Since I may say, now lie I like a king. 
King. Lend me thy cloak, Sir Thomas. — (Erpingham gives him cloak) 
Brothers both, 

Commend me to the princes in our camp ; 

Do my good morrow to them ; and, anon, 

Desire them all to my pavillion. 
Glo. We shall, my liege. [Exeunt Gloster and Bedford, l. 3 e. 

Erp. Shall I attend your grace ? 
King. No, my good knight ; 

Go with my brothers to my lords of England : 

I and my bosom must debate awhile, 

And then I would no other company. 
Erp. The Lord in heaven bless thee, noble Harry ! 

[Exit Erpingham, l. 3 e. 
King. God-a-mercy, old heart ! thou speaketh cheerfully. 

Enter Pistol, r. 2 e. 
Pist. Qui va la. 
King. A friend. 
Pist. Discuss unto me ; Art thou officer 1 

Or art thou base, common and popular *? 
King. I am gentleman of a company. 
Pist. Trail' st thou the puissant pike 1 
King. Even so : What are you? 
Pist. As good a gentleman as the emperor. 
King. Then you are a better than the king. 
Pist. The king's a bawcock and a heart of gold, 

A lad of life, an imp of fame ; 

Of parents good, of fist most valiant ; 

I kiss his dirty shoe, and from ray heartstrings 

I love the lovely bully. What's thy name ? 
King. Harry Le Roy. 

Pist. Le Roy ! a Cornish name ; art thou of Cornish crew ? 
King. No, 1 am a Welshman. 
Pist. Knowest thou Fluellen 1 
King. Yes. 
Pist. Tell him, I'll knock is leek about his pate, 

Upon St. David's day. 
King. Do not you wear yoar dagger in your cap that day, 

Lest he knock that about yours. 
Pist. Art thou his friend ? 
King. And his kinsman too, 
Pist. Thefgo for thee then ! 
King. I thank you : Heaven be with you. 

Pist. My name is Pistol called. [Exit, l. 2 e. 

King. It sorts well with your fierceness. 

[Soldiers exit severally, r. and l., and Henry goes up. 

Enter Fluellen and Gower, r. 2 e. 

Gower. Captain Fluellen ! 

Flu. So ! in the name of the saints, speak lower.* It is the greatest 

* Shakespeare has here, as usual, followed Holinshed : " Order was taken by com- 



ACT III.] HENRY THE FIFTH. 39 

admiration in the universal 'orld, when the true and ancient prerogatifes 
and laws of the wars is not kept ; if you would take the pains but to 
examine the wars of Pompey the Great, you shall find, I warrant you, 
that there is no tittle-taddle, or pibble-pabble in Pompey's camp ; I war- 
rant you, you shall find the ceremonies of the wars, and the cares of it, 
and the forms of it, and the sobriety of it, and the modesty of it, to be 
otherwise. 

Gower (l. a). Why, the enemy is loud ; you heard him all night. 

Flu. If the enemy is an ass and a fool, and a prating coxcomb, is it 
meet, think you, that we should also, look you, be an ass and a fool, 
and a prating coxcomb ; in your own conscience now 7 

Gower. I will speak lower. 

Flu. I pray you, and beseech you, that you will. 

[Exeunt Gower and Fluellen, l. 2 e. 

King. Though it appear a little out of fashion, 

There is much care and valor in this Welshman. 

Enter Williams and Bates, and Court — three Soldiers, r. 2 e. 

Wil. Brother John Bates, is not that the morning which breaks yon- 
der 1 

Bates. I think it be ; but we have no great cause to desire the ap- 
proach of day. 

Wil. We see yonder the beginning of day, but, I think, we shall never 
see the end of it. Who goes there ? 

King (advances, c). A friend. 

Wil. (r.). Under what captain terve you? 

King. Under Sir Thomas Erpingham. 

Wil. A good old commander, and a most kind gentleman. I pray 
you, what thinks he of our estate 1 

King. Even as men wrecked upon a sand, that look to be washed off 
the next tide. 

Bates (l. c). He hath not told his thoughts to the king 1 

King. No — nor it is not meet he should. " For though I speak it to 
you, I think the king is but a man, as I am. The violet smells to him as 
it doth to me — the element shows to him as it doth to me — all his senses 
have but human conditions — his ceremonies laid by, in his nakedness he 
appears but a man, and though his affections are higher mounted than 
ours, yet when they stoop, they stoop with the like wing. Therefore, 
when he sees reason of fears, as we do, his fears out of doubt, be of the 
same relish as ours are. Yet, in reason," no man should possess him 
with any appearance of fear, lest he, by showing it, should dishearten 
his army. 

Bates. He may show what outward courage he will, but I believe, as 
cold a night as 'tis, he could wish himself in the Thames up to the 
neck — and so I would he were, and I by him, at all adventures so we 
were quit here. 

King. By my troth, I will speak my conscience of the king ; I think 
he would not wish himself anywhere but where he is. 

Bates. Then 'would he were here alone ; so should he be sure to be 
ransomed, and a many poor men's lives saved. 

King. 1 dare say you love him not so ill to wish him here alone, how- 
soever you speak this to feel other men's minds : Methinks, I could not 

onandment from the king:, after the army was first set in battle array, that n-o noise 
arcloinor should be made in the host." 



40 HENKY THE FIFTH. [ACT III. 

die anywhere so contented as in the king's company ; his cause being 
just and his quarrel honorable. 

Will. That's more than we know. 

Bates. Ay, or more than we should seek after ; for we know enough 
if we know we are the king's subjects ; if his cause be wrong, our obe- 
dience to the king wipes the crime of it out of us. 

Will. But if the cause be not good, the king himself hath a heavy 
reckoning: to make ; " when all these legs and arms and head, chopped 
off in a battle, shall join together at the latter day, and cry all : — ' We 
died at such a place' — some swearing, some crying for a surgeon, some 
upon their wives left poor behind them, some upon the debts they owe, 
some upon their children rawly left." 1 am afeard there are few die well 
that die in battle ; for how can they charitably dispose of anything when 
blood is their argument ? Now, if these men do not die well, it will be a 
black matter for the king that led them to it ; whom to disobey were 
against all proportion of subjection. 

King. So, if a son that is by his father sent about merchandise, do 
sinfully miscarry upon the sea, the imputation of his wickedness, by 
your rule, should be imposed upon his father that sent him ; or if a 
servant, under his master's command, transporting a sum of money, bo 
assailed by robbers, and die in many irreconciled iniquities, you may 
call the business of the master the author of the servant's damnation : — ■ 
But this is not so : Every subject's duty is the king's ; but every sub- 
ject's soul is his own Therefore should every soldier in the wars do as 
every sick man in his bed, wash every mote out of his conscience : and 
dying so, death is to him advantage ; or not dying, the time was bless- 
edly lost, wherein such preparation was gained. 

Will. 'Tis certain, every man that dies ill, the ill upon his own head, 
tin king is not to answer it. 

Bates. I do not desire he should answer for me ; and yet I determine 
to fight lustily for him. 

King. I myself heard the king say he would not be ransomed. 

Wil. Aye, he said so, to make us fight cheerfully ; but, when our 
throats are cut, he may be ransomed, and we ne'er the wiser. 

King. If I live to see it, I will never trust his word after. 

Wil. 'Mass ! You pay him then ! That's a perilous shot out of an 
elder gun, that a poor and private displeasure can do against a monarch 1 
you may as well go about to turn the sun to ice. with fanning in his face 
with a peacocks feather. You'll never trust his word after ! come, 'tis a 
foolish saying. 

King. Your reproof is something too round ; I should be angry with 
you if the time were convenient. 

Will. Let it be a quarrrel between us, if you live. 

King. I embrace it. 

Wil. How shall I know thee again 1 

King. Give me any gage of thine, and I will wear it in my bonnet ; 
then, if ever thou darest acknowledge it, I will make it my quarrel. 

Wil. Here's my glove ; give me another of thine, (they exchange gloves.) 

King. There! 

Wil. This will I also wear in my cap ; if ever thou come to me and 
say, after to-morrow, " This is my glove," by this hand, I will take thee 
a box on the ear. 

King. If ever I live to see it I will challenge it. 

Wir,. Thou darest as well be hanged. 

King Well, I will do it, though I take thee in the king's company. 

Wil. Keep thy word ; fare thee well. 



ACT III.] HENRY THE FIFTH. 41 

Bates. Be friends, you English fools, be friends ; we have French 
quarrels enough, if you could tell how to reckon. 

King. Indeed ! the French may lay twenty French crowns to one 
they will beat us; for they bear them on their shoulders. But it is not 
English treason to cut French crowns, and to-morrow the king himself 
will be a clipper. [Exeunt Bates, Court and Williams, l. 2 e. 

Upon the king ! let us our lives, our souls, 
Our debts, our careful wives, 

Our children, and our sins, lay on the king. 

We must bear all. 

0, hard condition ! twin-born with greatness, 

Subject to the breath of every fool, whose sense 

No more can feel but his own wringing 1 

What infinite hearts-ease must kings neglect 

That private men enjoy 1 

And what have kings that privates have not too, 

Save ceremony, save general ceremony 1 

And what art thou, thou idol ceremony 1 

What kind of god art thou, that suffer'st more 

Of mortal griefs than do thy worshippers ? 

What are thy rents 1 What are thy comings in ? 

Oh, ceremony ! show me but thy worth ; 

What is the soul of adoration 1 

Art thou aught else but place, degree and form 

Creating awe and fear in other men 1 

Wherein thou art less happy being fear'd 

Than they in fearing. 

What drink'st thou oft, instead of homage sweet, 

But poison'd flattery 1 0, be sick, great greatness, 

And bid thy ceremony give thee cure. 

Think'st thou, the fiery fever will go out 

With titles blown from adulation 1 

Will it give place to flexure and low bending 1 

Canst thou, when thou command'st the beggar's knee, 

Command the health of it 1 No, thou proud dream, 

That play'st so subtly with a king's repose; 

I am a king that find thee, and I know 

'Tis not the balm, the sceptre, and the ball, 

The sword, the mace, the crown imperial, 

The inter-tissu'd robe of gold and pearl, 

" The farced title running fore the king," 

The throne he sits on, nor the tide of pomp 

That beats upon the high shore of this world — 

No, not all these, thrice-gorgeous ceremony, 

Not all these, laid in bed mnjestical, 

Can sleep so soundly as the wretched slave, 

Who, with a body fill'd, and vacant mind, 

Gets him to rest cramm'd with distressful bread ; 

" S!eej)S in Elysium ; next day, after dawn, 

Doth rise, and follows so the ever running year, 

With profitable labor to his grave ;" 

And but for ceremony, such a wretch 

Winding up days with toil, and nights with sleep, 

Had the fore-hand and vantage of a king. 

Enter Erpingham, l. 2 e. 



42 ZENRY THE EIFIH. [ACT III. 

Eup. My Lord, your nobles, jealous of your absence, 

Seek through your camp to find you. 
King. Good old knight, 

Collect them all together at my tent ; 

I'll be before thee. 
Erp. I shall do't, my lord. [Exit, l. 2 e. 

King, {kneeling, a). Oh, God of battles, steel my soldiers' hearts ! 

Possess them not with fear ! Take from them now 

The sense of reckoning if the opposed numbers 

Pluck their hearts from them. Not to-day, oh, Lord, 

Oh, not to-day ! Think not upon the fault 

My father made in compassing the crown ! 

I, Richard's body have interred new, 

And on it have bestowed more contrite tears 

Than from it issued forced drops of blood — 

Five hundred poor I have in yearly pay, 

Who twice a day their wither'd hands hold up 

Toward heaven, to pardon blood. And I have built, 

Two charities, where the sad and solemn priests 

Sing still for Richard's soul* — more will I do, 

Though all that I can do is nothing worth, 

Since that my penitence comes after all 

Imploring pardon. 

Enter Gloster. l. u. e. 
Glos. My liege ! 

King (rising). My brother Gloster' s voic^ ! Ay, 
I know thy errand — I will go with thee ! 

[Exeunt hastily, l. u. e. 

SCENE IV. — The French Dauphin's tent (as before). Sunrise. 

Enter the Dauphin, Orleans, and Nobles, c. 

Orleans. The sun doth gild our armor ; up, my lords. 
Dauph. Montez a cheval : — My horse ! valet ! lacquay ! ha ! 
Orleans. 0, brave spirit ! 
Dauph. Via ! — les eaux et la terre. 
Orleans. Rein, puis ? lair et le feu — 
Dauph. del! Cousin Orleans. — 

Enter Messenger, c. 
Mes. The English are embattled, you French peers. 

Enter Constable, c. 

Dauph. Now, my lord constable ! 

* He sent unto ye fryers of Langley, where the corps of Kynge Richarde was 
buryed, and caused it to be taken out of ye erth, and so with reverence and sol- 
empntie to be conveyed unto Westmynster, and upon the south syde of Seynt Ed- 
wardes shrine, there honourably to be buryed by quene Anne his wife, which there 
before tyme was entered. And after a solempn ferment there holdon, he provyded 
that iiii tapers shulde breune daye and ny^ht about his grave, whyle the world en- 
dureth ; and one day in the weke a solempn dirige, and upon the morrowe a masse 
of Requiem by note ; after which masse endyed, to be gyveu wekely unto pore peo- 
ple, XI. S. VIII., in pens ; and upon ye day of his anniversary, after ye sayd masse 
of Requiem is songe, to ba yerely distrybuted for his soule, XX. li. d.—Fabyan. 



ACT III,] HENRY THE FIFTH. 43 

Con. To horse, you gallant princes ! streight to horse ! 

Do but behold yon poor and starved band, 

And your fair show shall suck away their souls, 

Leaving them but the shales and husks of men. 

There is not work enough for all our hands ; 

Scarce blood enough in all their sickly veins 

To give each naked curtle-ax a stain. 

Why do you stay so long, my lords of France 1 

Yon island carrions, desperate of their bones, 

IU-favor'dly become the morning field : 

Their ragged curtains poorly are let loose, 

And our air shakes them passing scornfully, 

The horsemen sit like fixed candlesticks, 

With torch-staves in their hand ; and their poor jades 

Lob down their heads, dropping their hides and hips : 

The aura down-roping from their pale-dead eyes ; 

And in their pale dull mouths the grimmel bit 

Lies foul with chaw'd grass, still and motionless ; 

And their executors, the knavish crows, 

Fly o'er them all, impatient for their hour. 
Orleans. They have said their prayers, and they stay for death. 
Dauph. Shall we go send them dinners, and fresh suits. 

And give their fasting horses provender, 

And after figh' with them ] 
Con. I stay but for my guard. On to the field ; I will the banner 
from a trumpet take, 

And use it for my haste. Come, come away ! 

The sun is high, and we outwear the day ! [Exeunt, c. 

SCENE V. — The field of Agincourt . The English Army in order of battle, 
■l. Gloster, Bedford, Exeter, Salisbury, Erpingham, and 
Westmoreland, l. c. 

Glos. {coming r.). Where is the king ? 
Bed. The king himself is rode to view their battle. 
West Of fighting men they have three score thousand. 
Exe. God's arm strike with us — there's five to one — 

Besides, they all are fresh. 
Erp. 'Tis a fearful odds. 

If we no more meet till we meet in heaven, 

Then joyfully, my noble lord of Bedford, 

My dear Lord Gloster, and my good Lord Exeter, 

And my kind kinsmen, warriors all — adieu! 
West. Oh ! that we now had here 

Enter King Henry, l. u. e., attended. 

But one ten thousand of those men in England 
That do no work to-day ! 
King {down c. ). What's he, that wishes so 1 

My cousin Westmoreland ? — No, my fair cousin : 
If we are mark'd to die, we are enow 
To do our country loss ; and if to live, 
The fewer men the greater share of honor. 
I pray thee, wish not one man more.* 

* " Manie words of courage he uttered to stirre them to doo manfullie, assuring 



44 HKNRY THE FIFTH. [aCT III. 

By Jove, I am not covetous for gold : 

Nor care I who doth feed upon ray cost ; 

It yearns me not if men my garments wear; 

Such outward things dwell not in my desires ; 

But, if it be a sin to covet honor, 

I am the most offending soul alive. 

No, 'faith, my coz, wish not a man from England . 

Oh ! do not wish one more : 

Rather proclaim it, Westmoreland, through my host, 

That he, which hath no stomach to this fight, 

Let him depart : his passport shall be made, 

And crowns for convoy put into his purse : 

We would not die in that man's company, 

That fears his fellowship to die with us. 

This day is call'd the feast of Crispian ; 

He that outlives this day, and comes safe home, 

Will stand a tip-toe when this day is named, 

And rouse him at the name of Crispian :* 

He that shall live this day, and see old age, 

Will yearly on the vigil feast his friends, 

And say — to-morrow is Saint Crispian : 

Then will he strip his sleeve, and show his scars, 

And say — these wounds I had on Crispin's day. 

Old men forget ; yet all shall be forgot, 

But he'll remember, with advantages. 

What feats he did that day : Then shall our names, 

Familiar in their mouths as household words, 

Harry the king, Bedford and Exeter, 

Warwick and Talbot, Salisbury and Gloster, 

Be in their flowing cups freshly remembei'd : 

This story shall the good man teach his son : — 

And Crispin Crispian shall ne'er go by, 

From this day to the ending of the world, 

But we in it shall be remember'd : 

We few, we happy few, We band of brothers ; 

For he to-day that sheds his blood with me 

Shall be my brother ; be he ne'er so vile, 

This day shall gentle his condition ; 

And gentlemen in England, now abed, 

Shall think themselves accurs'd they were not here ; 

And hold their manhoods cheap, while any speaks 

That fought with us upon Saint Crispin's day. 

Soldiers shout and press forward. Enter Gower, r. 2 e. 

Gower. My sovereign lord, bestow yourself with speed : 

them that England should never be charged with his ransome, nor anie Frenchman 
triumph over him as a captive, for either by famous death or glorious victorie would 
he (by God's grace) win honour and fame. It is said that as he heard one of the host 
utter his wish to another thus : ' I would to God there were with us now so manie 
good soldiers as are at this houre within England!' the king answered, 'I would 
not wish a man more here than I have ; we are indeed in comparison to the enemies 
but few, but if God in his clemencie do favour us, and our just cause (as I trust He 
will), we shall speed well inough. But let no man ascribe victorie to our owne 
strength and might, but onelie to God's assistance, to whom I have no doubt we 
shall worthilie have cause to give thanks therefore.' "—Holinshed. 

* " The daie following was the five and twentieth of October, in the ye ir 1415, be- 
ing then fridaie and the feast of Crispine and Crispinian, a daie faire and fortunate 
to the English, but most sorrowful and unluckie to the French."— H'diiished. 



ACf III.] HENRY THE FIFTH. 45 

The French are bravely in their battles set, 

And will with all expedience charge on us. 
King. All things are ready, if our minds be so. 
West. Perish the man whose mind is backward now ! 
King. Thou dost not wish more help from England, coz 1 
West. Heaven's will, my liege, 'would yon and I alone, 

Without more help, might fight this battle out. 
King. Why, now, thou hast unwish'd five thousand men ; 

Which likes me better than to wish us one. — 

You know your places : God be with you all ! 

Trumpet. Enter Montjoy, and attendants, r. 2 e.* 

Mont. Once more I come to know of thee, King Harry, 

If for thy ransom thou wilt now compound, 

Before thy most assured overthrow ; 

For, certainly, thou art so near the gulf 

Thor needs must be englutted. Besides, in mercy, 

The constable desires thee thou wilt mind 

Thy followers of repentance ; that their souls 

May make a peaceful and a sweet retire 

From off these fields, where (wretches) their poor bodies 

Must lie and fester. 
King. Who hath sent thee now 1 

Mont. The constable of France. 
King. I pray thee, bear my former answer back ! 

Bid them achieve me, and then sell my bones. 

Good God ! why should they mock poor fellows thus 1 

The man that once did sell the lion's skin 

While the beast liv'd, was kill'd with hunting him. 

Let me speak proudly : — Tell the constable, 

We are bat warriors for the working-day : 

Our gayness, and our gilt, are all besmirch'd 

With rainy marching in the painful field ; 

There's not a piece of feather in our host 

(Good argument, I hope, we will not fly), 

And time hath worn us into sloven ry : 

But, by the mass, our hearts are in the trim : 

And my poor soldiers tell me, yet ere night 

They 'ill bo in fresher robes ; or they will pluck 

The gay new coats o'er the French soldiers' heads, 

And turn them out of service. If they do this — 

As if God please they shall — 

My ransom then will soon be levied. 

Herald, save thou thy labor ; • 

Come thou no more for ransom, gentle herald ; 

They shall have none, I swear, but these my joints ; 

Which if they have, as I will leave 'em them, 

Shall yield them little, tell the constable. 
Mont. I shall, King Harry. And so, fare thee well — 

* " Here we may not forget how the French thus in their jolifcie sent an Herald to 
King Henry to enquire what ransom? he would offer. Whereurto he answered that 
within two or three hours he hoped it would so happen that the Frenchmen should 
be glad to common rather with the Englishmen for their ranso ne than the English 
to take thought of their deliverance, promising for his owne part that his dead ear- 
casse should rather be a prize to the Frenchmen than his living bodie should paie 
anie ransome."— Holinshed. 



46 HENKY THK'FIVCB. [ ACT III. 

Thou never shalt hear herald any more. 

[Exit, followed by attendants, L. 2 e. 
King. I fear, thou wilt once more come again for ransom. 
Now, soldiers, march away — 
And how thou pleaseth God, dispose the day.* 

King Henry leads the army to the attack, r. Music. Change. 

SCENE VI. — In the neighborhood of the battle-field. The din of the battle 

R. 



Enter, r., French Soldier, Pistol, and the Boy. 

Pistol. Yield, cur! 

French Soldier. Je pense, quevous estes le gentilhomme de bonne qnalite. 
Pistol. Quality, call you me ! Construe me, art thou a gentleman ? 
What is thy name 1 discuss. 
Fr. Sol. 0, Seigneur Dieu ! 
Pistol. 0, Signieur Dew should be a gentleman — 

Perpend my words, 0, Signieur Dew, and mark — 
0, Signieur Dew, thou diest on point of fox, 
Except, Signieur, thou do give to me 
Egregious ransom. 
Fr. Sol. 0, prennez misericorde ! ayez pitie de moy. 
Pistol. Moy shall not serve, I will have forty moys ; 
For I will fetch thy rim out of thy throat, 
In drops of crimson blood. 
Fr. Sol. Est il impossible d'eschapper le force de ton bras ? 
Pistol. Brass, cur ! 

Thou damned and luxurious mountain goat, 
Offer' st me brass. 
Fr. Sol. 0, pardonnez moy I 
Pistol. Say'st thou me so 1 Is that a ton of moys ! 

Come hither, boy 1 ask me this slave in French, 
What is his name. 
Boy. Escoutez : Comment estes vous appelle ? 
Fr. Sol. Monsieur le Fer, 
Boy. He says his name is — master Fer. 

Pistol Master Fer; I'll fer him and firk him, and ferret him — dis- 
cuss the same in French unto him. 

BoY. I do not know the French for fer, and ferret, and firk. 
Pistol. Bid him prepare, for I will cut his throat. 
Fr. Sol. Que dit-il, Monsieur ? 

Boy. 11 me commande de vous dire que vous faites vous prest ; car cs soldat 
icy est dispose toute a cette heure de couper vostre gorge. 
Pistol. Ouy, couper gorge, par ma foy, pesant, 

Unless thou give me crowns, brave crowns ; 
Or mangled shalt thou be by this my sword. 



* King Henry, also like a good leader, and not as one led, like a sovereigne, and not 
an interior, perceiving a plot of ground verie strong and meet for his purpose, which 
on the back half was fensed with the village wherein he had lodged the night before, 
and on both sides defended with hedges and bushes, thought good there to imbatrle 
his host, and so ordered his men in the same place, as he saw occasion, and as stood 
for bis most advantage. First he sent privitilie 200 archers into the low medow, 
which was neere to the vauntgard of his enemies; but seperated with a great ditch, 
commanding them there to keep themselves close till they had a token to them given 
to let drive at their adversaries. Besides this, he appointed a vaward of which lie 
made eupfceine, Edward, Duke of York, who of a haultie courage had desired that 
otfice —Holinshcd. 



ACT III. J HENRY THE FIFTH. 47 

Fr. Sol. Q,je vous supplie pour V amour de Bieu, me pardonner ! Je suis 
gentilhomme de bonne maison ; gardez ma vie, et je vous donneray deux cents 
escus. 

Pistol. What are his words ? 

Boy. He prays you to save his life ; he is a gentleman of a good 
house ; and for his ransom he will give you two hundred crowns. 

Pistol. Tell him — my fury shall abate, 
And I the crowns will take. 

Fr. Sol. Petit monsieur, que dit-il ? 

Boy. Encore qu'il est contre son jurement, de pardonner aucun prisonnier ; 
neantmoins, pour les escus que vous Vavez promts, il est content de vous donner 
la hberte, le franchisemerd. 

Fr. Sol. Sur mes genoux, je vous donne mille remerciemens ; ct je mis- 
time hcureux queje suis tombe entre les mains d'un chevalier, je pense, le plus 
brave valiant, et tres distingue seigneur d 1 Angleterre. 

Pistol. Expound unto me, boy. 

Boy. Pie gives you, upon his knees, a thousand thanks : and he es- 
teems himself happy that he hath fallen into the hands of (as he thinks) 
the most brave, valorous, and thrice-worthy signieur of England. 

Pistol. As I suck blood, I will some mercy show. 

Follow me, cur. [Exit Pistol, l. 1 e. 

Boy. Suivez vous le grand eapitaine. [Exit French Soldier, l. 1 e. 
I never did know so full a voice issue from so empty a heart ; but the 
saying is true, — The empty vessel m^es the greatest sound. Bardolph 
and Nym had ten times more valor than this roaring devil i' the old 
play, that every one may pare his nails with a wooden dagger ; and 
they are both hanged ; and so would this be, if he durst steal anything 
adventurously. I must stay with the lackeys, with the luggage of our 
camp : the French might have a good prey of us, if he knew of it ; for 
there is none to guard it but boys. [Exit, l. 1 e. 

SCENE VII. — The battle of Agincourt. — Tableau. The English occupy the 
l. and the French the r of stage. King Henry on foot, c, in fierce 
encounter with the Duke of Alenc'on, who is mounted. The stage well 
filled with men. 

Notes. 

The king is reported to have dismounted before the battle commenced, and to have 
fought on foot. 

Holinshed states that the English army consisted of 15,000 and the French of 60,000 
horse and 40,000 infantry — in all, 100,000. Walsingham and Harding represent the 
English as but 9,000, and other authors sav that the number of the French amounted 
to 150,000. Fabian says the French were 40,000, and the English only 7,000. The 
battle lasted only three hours. 

The noble Duke of Gloucester, the king's brother, pushing himself too vigorously 
on his horse into the conflict, was grievously wounded, and cust down to the earth 
by the blows of the French, for whose protection the King being interested, he 
bravely leapt against his enemies in defence of his brother, defended him with his 
own body, and plucked and guarded him from the raging malice of the enemy's, sus- 
taining perils of war scarcely possible to be borne. — Nicolas' s History of Agincourt. 

Thus this battaile continued iiilong houres, some strake, some defeded, some foyn- 
ed, some traversed, some kylled, some toke prisoners, no man was idle, every man 
fought either in hope of victory or to save him selfe. The Kyng that day shewed 
him selfe like a valiaunt knight, whiche notwithstandyng that he was almost felled 
with the Duke of Alaunson, yet with plain strength he slew ii of the Duke's com- 
pany, and felled the Duke ; out when the Duke would have yieulded to him, the 
Kynge's garde, contrary to the Kynge's minde outragiously slewe him.— Hall's 
Chronicle. 

During the battle the Duke of Alencon most valiantly broke through the English 
lines, and advanced fighting near the King — inasmuch that he wounded and struck 
down the Duke of York. King Henry seeing this stepped forth to his aid, and as he 
was leaning down to aid him the Duke of Alengon gave him a blow on his helmet 
that struck off part of his crown. The King's guards on this surrounded him, when 



48 EENRY THE FIFTH. [ACT III. 

seeing he could no way escape death hut by surrendering, he lifted up his arms and 
said to the King, " I am the Duke of Alengon, and yield myself to you." But as 
the King was holding out his hand to receive his pledge he was put to death by the 
guards. — Monstreltt. 

SCENE VIII.— Part of the field of battle. 

Enter Dauphin, Constable, Orleans, Bourbon, and others, in confusion, 

L. 2 E. 

Con. diable ! 

Orleans. Seigneur ! — lejure est perdu, tout est perdie ! 

Dauph. Mori de ma vie ! all is confounded, all ! 

Reproach and everlasting shame 

Sits mocking in our plumes. meschante fortune ! 

Do not run away, (a short alarum.) 
Con. Why, all our ranks are broke. 

Dauph. 0, perdurable shame I Let's stab ourselves ! 

Be these the wretches that we played at dice for 1 
Orleans. Is this the king we sent to for his ransom 1 
Bour. Shame, and eternal shame, nothing but shame ? 

Let us die instant. Once more back again ; 

And he that will not follow Bourbon now, 

Let him go hence, and, with his cap in hand, 

" Like a base pander, hold the chamber-door, 

Whilst by a slave, no gentler than my dog, 

His fairest daughter is contaminate." 
Con. Disorder, that hath spoil'd us, friend us now, 

Let us, in heaps, go offer up our lives 

Unto these English, or else die with fame. 
Orleans. We are enough, yet living in the field, 

To smother up the English in our throngs, 

If any order might be thought upon. 
Bour. The devil take order now ; I'll to the throng: 

Let life be short ; else, shame will be too Ions. 

[Exeunt, r. 2 E. 

Enter King Henry. Warwick,* Bedford, Gloster, Exeter, and others, 

L. 2 E. 

King. Well have we done, thrice valiant countrymen ; 

But all's not done, yet keep the French the field. 
Exe. The Duke of Yorkf commends him to your majesty. 
King. Lives he, good uncle!" thrice within this hour, 

I saw him down ; thrice up again, and fighting ; 

From helmet to the spur, all blood he was. . 

Exe. In which array (brave soldier) doth he lie, 

Larding the plain ; and by his bloody sidej 

(Yoke-fellow to his honor-owing wounds), 

The noble Earl of Suffolk also lies. 

* Richard Beauchamp, Earl of Warwick. He did not obtain that title till 1417, 
two years after the era of this play. 

t The Duke of York commanded the vanguard of the English army, and was slain 
in the battle. 

This personage is the same who appears in Shakespeare's play of King Richard 
the Second by the title of Duke Aumerle. His Christian name was Edward. He 
was the eldest son of Edmund Laugley, Duke of York, who is introduced in the same 
play, and who was the fifth son of King Edward III. Richard, Earl of Cambridge, 
who appears in the second act of this play, was younger brother to this Edward, 
Duke of York. 



ACT III.] HEKUT THE FIFTH. 49 

Suffolk first died; and York, all haggled over, 
Comes to hitn, where in gore he lay insteep'd, 
And takes him by the beard kisses the gashes, 
That bloodily did yawn upon his face ; 
And cries aloud,— Tarry, dear cousin Suffolk! 
My soul shall thine keep company to heaven ; 
Tarry, sweet soul, for mine, then fly a-breast ; 
As, in this glorious and well-foughten field, 
We kept together in our chivalry ! 
Upon these words I came, and cheer'd him up ; 
He smil'd me in the face, raught me his hand, 
And, with a feeble gripe, says — Bear, my lord, 
Commend my service to my sovereign. 
So did he turn, and over Suffolk's neck' 
He threw his wounded arm, and kiss'd his lips ; 
And so, espous'd to death, with blood he seal'd 
A testament of noble-ending love. 
The pretty and sweet manner of it forced 
Those waters from me, which I would have stopp'd; 
But I had not so much of man in me, 
But all my mother came into mine eyes, 
And gave me up to tears. 
King. I blame you not ; 

For, hearing this. I must perforce compound 
With mistful eyes, or they will issue too. {alarum.) 
But, hark ! what new alarum is this same 1 

Enter, hastily Gowek and several Knights, l. 2 e , one of ichom speaks to 
the King, while Gower speaks aside to Fluellen.* 

Flu. Kill the boys aud the luggage ! 'tis expressly against the law of 
arms; 'tis as arrant a piece of knavery, mark you now, as can be of- 
fered. In your conscience now, is it not 1 

Gower. 'Tis certain there's not a boy left alive ; and the cowardly 
rascals that ran from the battle have done this slaughter. 

King. The French have reinforc'd their scatter'd men ; — 

Then every soldier kill his prisoners ; give the word through. 

Exit, attended, l. 2 e. 

Gower. 0, 'tis a gallant king ! 

Flu. Ay, he was porn at Monmouth, Captain Gower. What call you 
the town's name where Alexander the pig was porn 1 

Gower. Alexander the Great 1 

Flu. Why, 1 pray you, is not pig great 1 The pig, or the great, or 

* " In the meane season, while the battell thus continued, and that the English- 
men had taken a great number of prisoners, certeine Frenchmen on horsebacke, 
whereof were capteine Robinet of Borneville, Rifflart of (lamas, Isambcrt of Agin- 
court, and other men of armes to the number of six hundred horssemen, which were 
the first that fled, hearing that the English tents and pavilions were a good waie dis- 
tant irom the armie, without anie sufficient gard to defend the same, either upon a 
covetous meaning to gain by the spoile, or upon a desire to be revenged, entered upon 
the king's campe, and there spoiled the hails, robbed the tents, brake up chests, and 
caried awaie caskets, and slue such servants as they found to make anie resistance. 
* * * * But when the outcrie of the lackies, and boies, which ran awaie for fear of 
f be Frenchmen, thus spoiling the campe, came to the king's eares, he, doubting lest 
his enemies should gather togither and begin again a new field, and mistrusting far- 
thur, that the prisoners would be an aid to his enemies, or the verie enemies to their 
takers in deed, if they were suffered to live, contrairie to his accustomed gentlenes, 
commanded by sound of trumpet that everie man (upon paine of death) should in- 
continentlie slaie his prisoner."— Holinshed. 



50 HENRY THE FIFTH. [ACT III. 

the mighty, or the huge, or the magnanimous, are all one reckonings, 
save the phrase is a little variations. 

Gower. I think Alexander the Great was born in Macedon ; his father 
was called Philip of Macedon, as I take it. 

Flu. I think it is in Macedon where Alexander is porn. I tell you, 
captain — if you look in the maps of the 'orld I warrant you shall find, 
in the comparisons between Macedon and Monmouth, that the situations, 
look you, is both alike. There is a river in Macedon, and there is also 
moreover a river at Monmouth ; it is called Wye at Monmouth ; but it 
is out of my prains what is the name of the other river ; but 'tis all 
one, 'tis alike as my fingers is to my fingers, and there is salmons in 
both. If you mark Alexander's life well, Harry of Monmouth's life is 
come after it indifferent well ; for there is figures in all things. Alex- 
ander (Heaven knows, and you know), in his rages, and his furies, and 
his wraths, and his cholers, and his moods, and his displeasures, and his 
indignations, and also being a little intoxicates in his prains, did, in his 
ales and his angers, look you, kill his pest friend, Clytus. 

Goweii. Our king is not like him in that ; he never killed any of his 
friends. 

Flu. It is not well done, mark you now, to take the tales out of my 
month ere it is made and finished. I'll tell you, there is ooot men pom 
at Monmouth. [Exeunt, l. 2 e. 

SCENE IX. — In the neighborhood of Kino Henry's quarters. 

Enter King Henry, Exeter, Warwick, Gloster, and Soldiers, l. 1 e. 

King. I was not angry since I came to France 

Until this instant. — Take a trumpet, herald ; 
Ride thou unto the horseman on yon hill ;* 
If they will fight with us, bid them come down, 
Or void the field ; they do offend our sight: 
If they'll do neither, we will come to them, 
And make them skirr away as swift as stones 
Enforced from the old Assyrian slings. 
Go, and tell them so. 

Enter Solliers, l., carrying bier bearing the bodies of York and Suffolk. 
They halt c. Music, plaintive. King Henry advances, draws his sword 
from its scabbard, kisses the hilt, then presses it to the lips of York and 
Suffolk. Exeter, Warwick, Gloster, and Soldiers display emo- 
tion. Soldidrs carry bier off, R. 1 E. Trumpet. 

Exe. {looking l.). Here comes the herald of the French, my liege. 

Enter Montjoy, l. 1 e. He kneels before Henry. 

Glos. His eyes are humbler than they us'd to be. 
King. How 7 now, what means this, herald 1 

Com'st thou agaiu for ransom 1 
Mont. No, great king : 

I come to thee for charitable license, 

That we may wander o'er this bloody field, 

* " Some write that the kyng, perceiving' his enemies in one part to assemble to- 
pe! her as though they meant to give a new battell for preservation of tlie prisoners, 
sent to them an herald, commanding them either to depart out of his sight, or else 
to come forward at once and give battell."— Ilolinshed. 



ACT III.'] HF.NltY THE FIFTH. 51 

To book our dead, and then to bury them ; 
" To sort our nobles from our common men ; 
For many of our princes (woe the while !) 
Lie drown'd and soak'd in mercenary blood ; 
(So do our vulgar drench their peasant limbs 
In blood of princes) ; and their wounded steeds 
Fret fetlock deep in "ore, and, with wild rage, 
Yerk out their armed heels at their dead masters. 
0, give us leave, great king. 
King. I tell thee truly, herald, 

I know not if the day be ours or no ; 
For yet a many of your horsemen peer, 
And gallop o'er the field. 
Mont. The day is yours. 

King. Praised be God, and not our strength for it ! — 

What is this castle call'd that stands hard by 1 {pointing r.) 
Mont. They call it — Agincourt. 
a King. Then call we this — the field of Agincourt, 
Fought on the day of Crispin Crispianns. 
Flu. Your grandfather cf famous memory, an't please your majesty, 
and your great uncle Edward, the plack prince of Wales, as I have read 
in the chronicles, fought a most prave pattle here in France. 
King. They did, Fluellen. 

Flu. Your majesty says very true. If your majesty is remembered 
of it, the Welshmen did goot service in a garden where leeks did grow, 
wearing leeks in their Monmouth caps ; which your majesty knows to 
this hour is an honorable paclge of the service ; and, I do believe, your 
majesty takes no scorn to wear the leek upon Saint Tavy's day. 
King. I wear it for a memorable hour: 

For I am Welsh, you know, good countryman. 
Flu. All the water in Wye cannot wash your majesty's Welsh plood 
out of your pody, I can tell you that: Got pless it and preserve it, as 
long as it pleases his grace, and his majesty too ! 
King. Thanks, good my countryman. 

Flu. By Cheshu, I am your majesty's countryman, I care not who 
know it ; I will confess it to all the 'orld : I need not to be ashamed of 
your majesty, praised be Got, so long as your majesty is an honest man. 
King. God keep me so — our heralds go with him. 
Bring me just notice of the numbers dead 
On both our parts. — Call yonder fellow hither, {points to Wil- 
liams, ivho is at bark in the ranks.) 

[Exeunt Montjoy and English Heralds, l. 1 e. 
Exi!. Soldier, thou must come to the king. 
King. Soldier, why wear'st thou that glove in thy cap 1 
Wil. {coming forward ; he has a glove fastened on his helmet). An't please 
your majesty, 'tis the gage of one that I should fight withal, if he be 
alive. 

King. An Englishman 1 

Wil. An't please your majesty, a rascal, that swagger'd with me last 
night; who, if 'a live, and ever dare to challenge this glove, I have 
sworn to take him a box o' the ear ; or, if I can see my glove in his cap 
(which he swore, as he was a soldier, he would wear, if alive), I will 
strike it out soundly. 

King. What think you, Captain Fluellen? is it fit this soldier keep 
his oath 1 

Flu. He is a craven and a villain else, an't please your majesty, in my 
conscience. 



52 HENRY THE FIFTH. [ACT III. 

King. It may be his enemy is a gentleman of great sort, quite fron 
the answer of his degree. 

Flu. Though he be as goot a gentleman as the tevil is, as Lucifer 
and Beelzebub himself, it is necessary, look, your grace, that he keep 
his vow and his oath : if he be perjured, see you now, his reputation is 
as arrant a villain, and a Jack-sauce, as ever his plack shoe trod upon 
Got's ground and His earth, in my conscience, la. 

King. Then keep thy vow, sirrah, when thou meet'st the fellow. 

Wil, So I will, my liege, as I live. 

King. Who servest thou under 1 

Wil. Under Captain Gower, my liege. 

Flu. Gower is a goot captain ! and is goot knowledge and literatured 
in the wars. 

King. Call him hither to me, soldier. 

Wil. I will, my liege. [Exit Williams. 

King. Here, Fluellen ; wear thou this favor for me, and stick it in thy 
cap. When Alencon and myself were down together, I plucked this 
glove from his helm ; if any man challenge this, he is a friend to Alen- 
gon and an enemy to our person ; if thou encounter any such, appre- 
hend him, as thou dost me love. 

Flu. Your grace does me as great honors as can be desired in the 
hearts of his subjects ; I would fain isee the man, that has but two legs, 
that shall find himself aggriefed at this glove, that is all ; but I would 
fain see it once ; an please Heaven of its grace that 1 might see it. 
(places glow- in his helmet.) 

King. Knowest thou Gower 1 

Flu. He is my dear friend, and please you. 

King. Pray thee, go seek him, and bring him to my tent. 
[Exit King Henry, l. 2 e., followed by Warwick, Gloster, and Exeter. 

Flu. 1 will fetch him. 

He-enter Williams with Gower. 

Wil. I warrant it is to knight you, captain. 

Flu. Heaven's will and its pleasure, captain, I peseech you now, come 
apace to the king; there is more goot toward you, peradventure, than 
is in your knowledge to dream of. 

Wil. Sir, know you this glove 1 

Flu Know the glove 1 I know the glove is a glove. 

Wil. I know this ; and thus I challenge it. {strikes him.) 

Flu. 'Sblud ! an arrant traitor as any's in the universal 'orld, or in 
France, or in England. 

Gower. How now, sir 1 you villain 1 

Wil. Do you think I'll be forsworn 1 

Flu. Stand away, Captain Gower; I will give treason his payment 
into plows, I warrant you. 

W il. I am no traitor, 

Flu. That's a lie in thy throat — I charge you in his majesty's name, 
apprehend him ; he's a friend of the Duke Alengon's. 

Enter Warwick and Gloster, l. 2 e. 

War. How now, how now! what's the matter 1 

Flu. My lord of Warwick, here is (praised be Got for it!) a most 
contagious treason come to light, look you, as you shall desire, in a sum- 
mer's day. Here is his majesty. 



ACT III.] HENRY THE FIFTH. 53 

Entet King Henry and Exetek, l. 2 e. 

King. How now ! what's the matter ? 

Flu. (a). My liege, here is a villain and a traitor, that, look your 
grace, has struck the glove which your majesty is take out of the hel- 
met of Alengon. 

Wil. (r. a). My liege, this was my glove ; here is the fellow of it ; 
and he, that I gave it to, in change, promised to wear it in his cap ; I 
promised to strike him, if he did ; 1 met this man with my glove in his 
cap, and I have been as good as my word. 

Flu. Your majesty hear now ^saving your majesty's manhood), what 
an arrant, rascally, beggarly, lowsy knave it is ; I hope, your majesty is 
pear me testimony, and witness, and will avouchments, that this is the 
glove of Alengon, that your majesty gave me, in your conscience now. 

King. Give me thy glove soldier. Look, here is the fellow of it. 
'Twas I, indeed, thou promis'd to strike ; and thou hast given me most 
bitter terms. (Williams falls on his knees.) 

Flu. An please, your majesty, let his neck answer for it, if there is 
any martial law in the 'orld. 

King. How canst thou make me satisfaction? 

Wil. All offences, my liege, come from the heart ; never came any 
from mine, that might offend your majesty. 

King. It was ourself thou didst abuse. 

Wil. Your majesty came not like yourself : you appeared to me but 
as common man ; witness the night, your garments, your lowliness; and 
what your highness suffered under that shape, I beseech you take it for 
your own fault, and not mine; for had you been as I took you for, I 
made no offence ; therefore, I beseech your highness, pardon me. 

King. Here, uncle Exeter! fill this glove with crowns. 

And give it to this fellow, {gives glove to Exeter.) 
Keep it, fellow, 

And wear it for an honor in thy cap, 

Till I do challenge it. — Give him the crowns. (Exeter fills 
glove with crowns and gives it to Williams. To Fluellen) 
And, captain, you must needs be friends with him. 

Flu. By this day and this light, the fellow has mettle enough in his 
pelly. {to Wiilliams) Hold ! there is twelve pence for you, and I pray 
you to serve Got, and keep you out of prawls, and prabbles, and quar- 
rels, and dissensions, and, I warrant you, it is the petter for you. 

Wil. I will none of your money. 

Flu. It is with a good will. I can tell you, it will serve you t6 mend 
your shoes. Come, wherefore should you pe so pashful 1 Your shoes 
is not so goot — 'tis a goot shilling, I warrant you, or I will change it. 
(Williams accepts the money with apparent reluctance.) 

Enter an English Herald, l. 2 e. 

King. Now, herald ; are the dead number'd 1 

Her. Here is the number of slaughter'd French, (delivers a paper.} 
King. What prisoners of good sort are taken, uncle 1 
Exe. Charles, Duke of Orleans,* nephew to the king , 
John, Duke of Bourbon, and Lord Bouciqualt : 
Of other lords and barons, knights and 'squires 
Full fifteen hundred, besides common men. 

* Charles Duke of Orleans was wounded and taken prisoner at Agincourt. Henry 
refused all ransom for him, and he remained in captivity twenty-three years. . 



54 HENRY THE FIFTH. [ACT II I. 

King. This note doth tell me of ten thousand French 

That in the field lie slain : of princes, in this number, 

And nobles bearing banners, there lie dead 

One hundred twenty-six: added to these, 

Of knights, esquires, and gallant gentlemen, 

Ei^ht thousand and four hundred ; of the which 

Five hundred were but yesterday dubb'd knights : 

So that, in these cen thousand they have lost, 

There are but sixteen hundred mercenaries ; 

The rest are princes, barons, lords, knights, 'squires, 

And gentlemen of blood and quality. 

Where is the number of our English dead 1 (Heualb presents 
another paper) 

Edward the Duke of York, the Earl of Suffolk, 

Sir Richard Ketley, Davy Gam, esquire ; 

None else of name ; and of all other men 

But five-and-twenty. God, thy arm was here, 

And not to us, but to Thy arm alone, 

Ascribe we all. — When, without stratagem, 

But in plain shock and even play of battle, 

Was ever known so great and little loss, 

On one part and on the other *?* Take it, God, 

For it is only Thine ! 
Exe. 'Tis wonderful ! 

King. " Come, go we in procession to the village, 

And be it death proclaimed through our host, 

To boast of this, or take that praise from God 

Which is his only. 
Flu. Is it not lawful, an* ulease your majesty, to tell how many is 
killed? 

King. Yes, captain, but with this acknowledgment — 

That God fought for us. 
Flu. Yes, my conscience, He did us gi'eat goot !" 
King. Do we all holy rites. 

Let there be sung Nbn nobis and Te Deum, 

The dead with charity enclos'd in clay ; 

We'll then to Calais — and to England then ; 

Where ne'er from France arriv'd more happy men. 

All kneel. Music ; " Nbn nobis Domine " is sung.-\ Tableau. 

CURTAIN. 

* " Among the most illustrious prisoners slain were the Dukes of Brabant, Barre, 
and Alencon, five counts, and a still greater proportion of distinguished knights ; 
and the Duke of Orleans, the Count of Vendosme, who was taken by Sir John Cora- 
wall, the Marshal Bouciqualt, and numerous other individuals of distinction, whose 
names are minutely recorded by Monstrelet, were made prisoners. The loss if the 
English army has been variously estimated. The discrepancies respecting the num- 
ber slain on the part of the victors, form a striking contrast to the accuracy of the 
account of the loss of their enemies. The English writers vary in their statements 
from seventeen to one hundred, whilst the French chroniclers assert that from three 
hundred to sixteen hundred individuals fell on that occasion. St. Remy and Mon- 
etrelet assert that sixteen hundred were slain."— Nicolas's History of Agincourt. 

"In short, the number of persons, including princes, knights, and men of every 
desrree, slain that day, amounted to upward of ten thousand, according to the esti- 
mates of heralds and other able persons. ***** Of these ten thousand it was 
supposed only sixteen hundred were of low degree, the rest all gentlemen ; for in 
counting the princes, there were one hundred and six score banners destroyed." — 
Monstrelet. 

t " The Kyner, when he saw no appearance of enimie3, caused the retreit to be 
blowen, and gathering his armie togither, gave thanks to Almightie God for so hap- 



ACT IV.] HKNEF THE FIFTH. 55 

ACT IV. 

SCENE I. — Clouds. — Rumor discovered, c, on cloud bank. Music. 

Rumor. Vouchsafe to those that have not read the story, 
That I may prompt them. Now we bear the king 
Toward Calais ; grant him there ; there seen, 
Heave him away upon your winged thoughts, 
Athwart the sea ; behold the English beach 
Pales in the flood with men, withi wives, and boys. 
Whose shouts and claps out-voice the deep mouth 1 d sea, 
Which like a mighty wbiffler 'fore the king, 
Seems to prepare his way, so let him land 
And solemnly, see him set on to London. 
So swift a pace hath thought, that even now 
You may imagine him upon Blackheath ; 
How London doth pour out her citizens ! 
The mayor, and all his brethren, in best sort — 
Like to the senators of the antique Rome, 
With plebeians swearing at their heels, — 
Go forth, and fetch their conquering Caesar in. 
"As by a lower but by loving likelihood, 
Were now the general of our gracious empress* 
(As in good time, he may) from Ireland coming, 
Bringing rebellion broached on his sword, 
How many would the peaceful city quit, 
To welcome him ? Much more and much more cause, 
Did they this Harry." 
Now in London place him ; and omit 
All the occurrences, whatever chanc'd, 
Till Harry's back-return again to France ; 
There must we bring him ; and myself have played 
The interim, by remembering you — 'tis past. 
Then brook abridgment ; and your eyes advance 
After your thought, straight back again to France, {clouds dis- 
perse, and Rumor descends through trap, c.) 

SCENE II.' — An Historical Upisode.-f A view of old London bridge from the 
Surry side of the Thames. Grand entry of King Henry into London. 

Extracts of King Henry's reception into London from an anonymous Chroni- 
cler, who was an eye-witness of the events he describes : 

" And when the wished-for Saturday dawned, the citizens went forth to meet the 
King. * * * viz., the Mayor and Aid -'lmen in scarlet, and the rest of the infe- 
rior citizens in red suits, with party coloured hoods, red and white. * * * When 
they had come to the Tower at the approach lothc bridge, as it were at the entrance 

jie a victorie, causing his prelata and chapleins to sing this psalmo : — ' In t xiLu 
Israel de Aegypto,' aud commanded every man to kneele downe on the ground at 
this verse, ' non nobis domine, non nobis, sed nomini tuo da glorium.' Which doone, 
ho caused Te Deum with certeine anthems to be soong, giving laud and praise to 
God, without boasting of his owne force or any humane power."— Holinshed. 

* Referring to the Earl of Essex in the reign of Queen Elizabeth. 

t This scene, which has no authority in the text of Shakespeare, was first intro- 
duced by Mr. Charles Keau. upon his revival of the play at the Princess' Theatre, 
London, March 28th, 1859. The interpolation is intended to portray the events of 
Henry's reception upon entering London, founded upon incidents related by an old 
chronicler, who witnessed (iie scene. Mr. Calvert, in his revival of the piece, both in 
London and New York, has followed in Mr. Kean's footsteps, and although he has 
succeeded in producing a gorgeous spectacle, he has paid but little regard to histori- 



56 HEN It Y THE FIFTH. [ACT T. 

to the authorities to the City. * * * Banners of the Eoyal Arms adorned the 
Tower, elevated on its turrets ; and trumpets clarions, and horns, sounded in various 
melody; and in front there was this elegant and suitable inscription upon the wall, 
' Civitas fi-egis justicie'— ('The City to the King's righteousness.') * * * And 
behind the tower were innumerable boys, representing angels, arrayed in while, 
and with countenances shining with gold, and glittering wings, and virgin locks set 
with precious sprigs of laurel, who, at the King's approach) sang with melodious 
•voices, and with organs, an English anthem. 

* * * * * * * * 

" A company of prophets, of venerable hoariness, dressed in golden coats and man- 
tles, with their heads covered and wrapped in gold and crimson, sang with sweet 
harmony, bowing to the ground, a psalm of thanksgiving. 

* * * ***** 

" And they sent forth upon him round leaves of silver mixed with wafers, equally 
thin and round. And there proceeded out to meet the King a chorus of most 
beautiful virgin girls, elegantly attired in white, singing with timbrol and dance, as 
it were an angelic multitude, decked with celestial gracefulness, white apparel, shin- 
ing leathers, virgin locks studded with gems and other resplendent and most elegant 
array, who sent forth upon the head of the King passing beneath minseof gold, with 
bows of laurel ; round about angels shone with celestial gracefulness, chauntiug 
sweetly, and with all sorts of music. 

" And besides the pressure in the standing places, and of men crowding through 
the streets, and the multitude of both sexes along the way from the bridge, from 
one end to the other, that scarcely the horsemen could ride through them. A greater 
assembly, or a nobler spectacle, was not recollected to have been ever before in Lon- 
don." 

CURTAIN. 



ACT V. 

SCENE I. — France. An apartment in the Palace at Troyes. 

The Princess Katharine and her attendant discovered. 

Katharine. Alice tit as este en Angleterre, et tu paries Men le language. 
Alice. JJn pen, madame. 

Kath. Je te prie, vrf enseignez ; ilfautquefapprcnnc a parler. Comment 
appellez vous la mam, en Anglois ? 

Alice. La main ? elle est appellee, de hand. 
Kath. De hand. M les doights ? 

cal facts, insomuch that the scene portrayed did not take place at London Bridge, 
though something similar to it did transpire at the Cross of Chepe ; nor was Henry 
clad in armor, but, " was simply attired in a purple robe, and rode gravely along at- 
tended by a very small retinue." The following is an extract from Holinshed's 
Chronicles, relative to the event: 

"The maiorof London and the aldermen apparrelled in orient grained scarlet, and 
four hundred commoners, clad in beautiful murrie, well-mounted and trimlie, hors- 
sed, with rich collars, and greate chaines, met the king on Blackheath, rejoicing at 
his returne ; and the clergie of London, with rich crosses, sumptous capes, and mas- 
sie censers, received him at Saint Thomas of Waterings with solemne procession. 
The king, like a grave and sober personage, and one remembering from whom all 
victories are sent, seemed little to regard t-uch vain pompe and shews, as were in tri- 
umphant sort devised for his welcomming home from so prosperous a journie in so 
much, that he would not suffer his helmet to be carried with him, whereby might 
have appeared to the people the blows and dints that were to be seen in the 
same. Neither would he suffer any ditties to be made and sung by minstrels, of his 
glorious victorie, for that he would wholie have the praise and thanks altogether 
given to God." 

It would be next to an impossibility to give a full and complete synousis of the 
business of this scene as done at the Princess' or Booth's Theatre, as the effectiveness 
of its rendition rests solely upon the taste and judgment of the stage manager, for 
whose benefit the above notes and extracts are given. — Ed. 



ACT V.] HENKY THE FIFTH. 



57 



Alice. Les doights ? mafoy,je oublie les doighls ; metis jc me souvitndray. 
Les doights ? je pense qu'ils sont appelles de fingres ; ouy, de fingres. 

Kath. La main de hand ; les doights, de fingres. Je pense queje sais le 
bon escolier. Comment appellez vous les ongles ? 

Alice. Les'ongles ? les appelons, de nails. 

Kath. De nails. Escoutez ; dites moy sijeparle bien : de, hand, de fin- 
gres, de nails. 

Alice. Cest bien dit, madame ; il est fort bon Anglois. 

Kath. Bites moy V Anglois pour le bras. 

Alice. De arm, madame. 

Kath. Et le coude ? 

Alice. De elbow. 

Kath. De elbow. Je nCen faitz U repetition de tous les mots que vous 
in'avez appris des a present. 

Alice. 11 est trop difficile, madame, commeje pense. 

Kath. Excuses moy, Alice; escoutez: De hand, de fingre, de nails, de 
arm, de biibow. 
" Alice. De elbow, madame. 

Kath. Seigneur Dieu ! je m'en oublie, De elbow. Comment appellez vous 
le col ? 

-Alice. De nick, madame. 

Kath. De nick : Et le menton ? 

Alice. De chin. 

Kath. De sin. Le col, de nick ; le menton, do sin. 

Alice. Ouy. Sauf vostre honneur ; en verite, vous prononcez les mots aussi 
droict que les natifs dAngleterre. 

Kath. Jenedoute point d'apprenelre par la grace de Dieu ; et en peu de 
temps. 

Alice. N'avez vous pas dejet oublie ce queje vous ay enseignee ? 

Kath. Non je rcciteray a vous promptement. De hand, de fingre, de 
mails 

Alice. De nails, madame. 

Kath. De nails, de arme, de ilbow. 

Alice. Sauf vostre honneur. de elbow. 

Enter* King Henry, Bedford, Gloster, Exeter, Warwick West- 
moreland, and other Lords, l. King Charles, Queen Isabel, 
Duke of Burgundy carrying a scroll. Lords and Ladies, r. 

King. Peace to this meeting, wherefore we are met ! 
Unto our brother France, and to our sister, 
Health and fair time of day— joy and flood wishes 
To our most fair and princely cousin Katharine ; 
* And (as a branch and member of this royalty, 

■ By whom this great assembly is contriv'd ! ) 

j We do salute you, Duke of Burgundy — 

And, princes French, and peers, health to you all ! 
Charles. Right joyous are we to behold your face, 
Most worthy brother England ; fairly met — 
So are you, princes English, every one. 
Queen Isabel. You English princes all, I do salute you. 
Bur. My duty to you both, on equal love, 

Great Kings of France and England ! That I have labor'd 

* Shortly after his arrival he waited on the King and Queen of France, and t'e 
Lady Catherine their daughter, when great honor and attentions were by them mu- 
tually paid to each other.— Monstrelct. 



58 HENRY THE FIFTH. [aCT T 

With all my wits, mj r pains, and strong endeavors, 

To bring your most imperial majesties 

Unto this bar and royal interview, 

Your mightiness on both parts best can witness. 

Since then my office hath so far prevail'd • 

That face to face, and royal eye to eye, 

You have congreeted ; let it not disgrace me, 

If I demand, before this royal view, 

What rub, or what impediment, there is, 

Why that naked, poor, and mangled peace, 

Dear nurse of arts, plenties and joyful births, 

Should not, in this best garden of the world, 

Our fertile France, put up her lovely visage ? 

Alas ! she hath from France too long been chas'd, 

And all her husbandry doth lie on heaps, 

Corrupting in its own fertility. 

And as our vineyards, fallows, meads, and hedges, 

Defective in their natures, grow to wildness ; 

Even so our houses, and ourselves, and children, 

Have lost, or do not learn, for want o*' time. 

The sciences that should become our country : 

But grow, like savages, — as soldiers will, 

That nothing do but meditate on blood, 

To swearing, and stern looks, diffus'd attire, 

And everything that seems unnatural. 

Which to reduce into our former favor 

You are assembled ; and my speech entreats 

That I may know the let, why gentle peace 

Should not expel these inconveniences, 

And bless us with her former qualities. 
King. If, Duke of Burgundy, you would the peace, 

Whose want gives growth to the imperfections 

Which you have cited, you must buy that peace 

With full accord to all our just demands ; 

Whose tenors and particular effects 

You have, enschedul'd briefly, in your hands. 
Bur. The king hath heard them ; to the which, as yet, 

There is no answer made. 
King. Well, then, the peace 

Which you before so ui-g'd, lies in his answer. 
Charles. I have but with a cursorary eye 

O'er glanced the articles : pleaseth your grace 

To appoint some of your council presently 

To sit with us once more, with better heed 

To re-survey them, we will, suddenly, 

Pass our accept and peremptory answer. 
King. Brother, we shall. — Go, uncle Exeter, 

And brother Clarence, — and you, brother Gloster, 

Warwick, and Huntington, go with the king : 

And take with you free power to ratify, 

Augment or alter, as your wisdoms best 

Shall see advantageable for our dignity, 

Anything in, or out of, our demands ; 

And we'll consign thereto. — Will you, fair sister, 

Go with the princes, or stay here with us 1 
Q. Isa. Our gracious brother, I will go with them, 

Haply a woman's voice may do some good, 



ACT V.J HENKT THE FIFTH. 59 

When articles too nicely urg'd be stood on. 

King. Yet leave our cousin Katherine here with us ; 
She is our capital demand, corapris'd 
Within the fore-rank of our articles. 

Q. Is a. She hath good leave. 

[Exeunt all r. and l., excepting King Henry, the Princess, and Alice. 

King. Fair Katherine, and most fair! 

Will you vouchsafe to teach a soldier terms, 
Such as will enter at a lady's ear, 
And plead his love suit to her gentle heart ? 

Kath. Your majesty shall mock at me ; I cannot speak your Eng- 
land. 

King. fair Katherine, if you will love me soundly with your French 
heart, 1 will be glad to hear you confess it brokenly with your English 
tongue. Da you like me, Kate 1 

Kath. Pardonnez moy, I cannot tell vat is — like me. 

King. An angel is like you, Kate ; and you are like an angel. 
.Kath. Que dit-il ? que je suis semblable a les anges ? 

Alick. Ouy, vraymmt (sauf vostre grace), ainsi dit-il. 

King. I said so dear Katherine, and 1 must not blush to affirm it. 

Kath. bon Dieic ! les langues des homines sontpleines des tromperies. 

King. What says she, fair one 1 that tongues of men are full of de- 
ceits 1 

Alice. Ouy ; dat de tongues of de mans is full of deceits : dat is de 
princess. 

King. The princess is the better English woman. I' faith, Kate, my 
wooing is fit for thy understanding. 

Kath. Sauf vostre honneur, me understand well. 

King. Marry, if you would put me to verses, or to dance for your 
sake, Kate, why you undid me : If I could win a lady at leap-frog, or 
by vaulting into my saddle with my armor on my back, under the cor- 
rection of bragging be it spoken, I should quickly leap into a wife. Or, 
if I might buffet for my love, or bound my horse for her favors, I could 
lay on like a butcher, and sit like a jack-an-apes, never off: but, Kate, 
I cannot look greenly, nor gasp out my eloquence, nor I have no cun- 
ning in protestation ; if thou canst love a fellow of this temper, Kate, 
whose face is not worth sunburning, that never looks in his glass for 
love of anything he sees there, let thine eye be thy cook. I speak to 
thee plain soldier: If thou canst love me for this, take me : if not, to 
say to thee — that I shall die, is true : but — for thy love, by the Lord, 
no ; yet I love thee too. And while thou livest, dear Kate, take a fel- 
low of plain and uncoined constancy; for he perforce must do thee 
right, because he hath not the gift to woo in other places: for these 
fellows of infinite tongue, that can rhyme themselves into ladies' fa- 
vors, they do always reason themselves out again. What ! a speaker is 
but a prater; a rhyme is but a ballad. A good leg will fall ; a straight 
back will stoop ; a black beard will turn white ; a curled pate will grow 
bald ; a fair face will wither ; a full eye will wax hollow ; but a good 
heart, Kate, is the sun and the moon ; or. rather the sun, and not the 
moon ; for it shines bright, and never changes, but keeps his course 
truly. If thou wouldst have such a one, take me. 

Kath. Is it possible dat I should love de enemy of France 1 

King. No ; it is not possible you should love the enemy of France, 
Kate : but in loving me, you should love the friend of France ; for I 
love France so well that I will not part with a village of it ; I will have 
it all mine : and, Kate, when France is mine, and I am yours, then 
yours is France, and you are mine. 



60 HEiS'KY THK FIFTH. [ACT V. 

Kath. I cannot tell vat is clat. 

King. No, Kate 1 I will tell thee in French ; which, I am sure, will 
hang upon my tongue like a new-married wife about her husband's 
neck, hardly to be shook off. Quandfay la possession tie France, et quand 
vous avez la possession de moy (let me see, what then ? Saint Dennis be my 
speed !) — done vostre est France, et vous esies mienne. It is as easy for me 
Kate, to conquer the kingdom as to speak so much more French : I 
shall never move thee in French, unless it be to laugh at me. 

Kath. Sauf vostre honneur, le Francois que vous parhz est mcilleur que V 
Anglois le quel je parle. 

King. No, 'faith, is't not, Kate : but thy speaking of my tongue, and 
I thine, must needs be granted to be much at one. But, Kate, dost 
thou understand thus much English ? Canst thou love me "? 

Kath. I cannot tell. 

King. Can any of your neighbors tell, Kate 1 I'll ask them. Come, 
I know thou lovest me. How answer you, la plus Belle Katherine du 
monde, mon tre schere et divine deesse ? 

Kath. Your majeste nvefausse French enough to decieve de most sage 
demoiselle dat is en France. 

King. Now, fie upon my false French ! By mine honor, in true Eng- 
lish, I love thee, Kate. Put off your maiden blushes ; avouch the 
thoughts of your heart with the looks of an empress ; take me by the 
hand, and say, Harry of England, I am thine : which word thou shall 
no sooner bless mine ear withal, but I will tell thee aloud — England is 
thine, Ireland is thine, France is thine, and Henry Plantagenet is thine; 
who, though I speak it before his face, if he be not fellow with the best 
king, thou shalt find the best king of good fellows. Come, your answer 
in broken music ; for thy voice is music, and thy English broken. Wilt 
thou have me ? 

Kath. Dat is as it shall please de roy mon per e. 

King. Nay, it will please him well, Kate ; it shall please him, Kate. 

Kath. Den it sail also content me. 

King. Upon that I kiss your hand, and I call you my queen. 

Kath. Laissez, mon seigneur, laissez, laissez ; ma foy, je ne veux point que 
vous«abbaissez vostre grandeur, en baisant la main d'une vostre indigne servi- 
teure ; excuzez moy, je vous supplie, mon ires puissant seigneur. 

King. Then I will kiss your lips, Kate. 

Kath. Les dames, ct demoiselles, pour estre baissees devant leur nopces, il 
nest pas le coutume de France. 

King. Madam, my interpreter, what says she ? 

Alice. Dat it is not be de fashion pour les ladies of France — I cannot 
tell what is baiscr en English. 

King. To kiss. 

Alice. Your majesty entendre bettre que moy. 

King. It is not the fashion for the maids in France to kiss before they 
are married, would she say ] 

Alice. Ouy, vrayment. 

King. Kate, nice customs curt'sy to great kings. Dear Kate, you 
and I cannot be confined within the weak list of a country's fashion ; 
therefore, patiently and yielding, {kissing her) You have witchcraft, in 
your lips, Kate ; there is more eloquence in a sugar touch of them than 
in the tongues of the French council : and they should sooner persuade 
Harry of England than a general petition of monarchs. 

The King leads out the Princess, folloived by the Attendant, c. and off l. 

Change. 



ACL' V.] EENKY THE F1FIH. 61 

SCENE II.— Street in Troyes. 

Enter Captain Gower, and Fluellen (who has a leek in his cap and a 
' in his hand), l 1 e. 



Gower. Nay, that's right ; but why wear you. your leek to-day ? 
Saint Davy's day is past. 

Flu. There is occasions and causes why and wherefore in all things : 
I will tell you, as my friend, Captain Gower. The rascally, scald, beg- 
garly, lousy, pragging knave, Pistol— which you and yourself, and all 
the 'orld, know to be no petter than a fellow, iook you now, of no merits 
— he is come to m?, and prings me pread and salt yesterday, look you, 
and bid me eat my leek : it was in a place where 1 could not breed no 
contentions with him ; but I will b? so pokl as to wear it in my cap till 
I see him once again, and then I will tell him a little piece of my desires. 

Enter Pistol, r. 1 e. 

Gower. Why, here he comes, swelling like a turkey-cock. 

Flu. 'Tis no matters for his swellings, nor his turkey-cocks. — Got 
pless you, Ancient Pistol ! you scurvy, lousy knave, Got pless you ! 

Pistol Ha! art thou Bedlam ? dost thou thirst, base Trojan, 
To luve me fold up Parca's fatal web ? 
Hence ! I am qualmish at the smell of leek. 

Flu. I peseech you heartily, scurvy, lousy knave, at my desires, and 
my requests, and my petitions, to eat, iook you, this leek ; because, 
look you, you do not love it, nor your affections, and your appetites,' 
and your digestions, does not agree with it, I would desire you to eat it. 

Pistol Not for Cadwallader and all his goats. 

Flu. There is one goat for you. {strikes him.) 

Will you be so goot, scald knave, as eat it 1 

Pistol. Base Trojan, thou shall die. 

Flu. You say very true, scald knave, when Heaven's will is; I will 
desire you to live in the meantime, and eat your victuals ; come, there 
is sauce for it. (striking him again) You called me yesterday, mountain- 
squire, but I will make to-day a squire of low degree. I pray you, fall 
to, if you can mock a leek, you can eat a leek. 

Gower. Enough, captain, you have astonished him. 

Flu. I say, I will make him eat some part of my leek, or I will peat 
his pate four days. Bite, I pray you ; it is goot for your green wound, 
and your ploody coxcomb. 

Pistol. Must I bite 1 

Flu. Yes, certainly ; and out of doubt and out of questions, too, and 
ambiguities 1 

Pistol. By this leek, I will most horribly revenge ; I eat — and eat — I 
swear. 

Flu. Eat, I pray you. Will you have some more sauce to your leek 1 
there is not enough leek to swear by. 

Pistol. Quiet thy cudgel ; thou dost see, I eat. 

Flu. Much goot do you, scald knave, heartily. Nay, pray you, throw 
none away, the skin is goot for your proken coxcomb. When you take 
occasions to seek leeks hereafter, I pray you, mock at 'em ; that is all. 

Pistol. Good. 

Flu. Ay, leeks is goot. Hold you, there is a groat to heal your pate. 

Pistol. Me a groat ] 

Flu. Yes, verily, and in truth you shall take it; or I have another 
leek in my pocket, which you shall eat. 



62 - iienky tii:: fifth* [act v. 

Pistol. I take thy groat, in earnest of revenge. 

Flu It* I owe you anything I will pay you in cudgels ; you shall be 
a woodmonger, and buy nothing of me but cudgels. Heaven be wi' you, 
and keep you, and heat your pate. [Exeunt with Goweij, k. 1 e. 

Pistol. All hell shall stir for this ! [Exit, l. I e. 

SCENE III. — Interior of the Cathedral of Trot/es. Discovered King 
Henuy, Bedford, Gloster, Exeter, Warwick, Wkstmorbland, 
Lords and English Knights,* King Charles, Queen Isabel, 
Princess Katiierine, Duke of Burgundy, Lords and Ladies. 

Music. 

Queen Isabel. So happy be the issue, brother England, 
Of this good day and of this gracious meeting, 
As we are now glad to behold your eyes ; 
Your eyes, which hitherto have borne in them 
Aga'nst the French, that met them in their bent, 
The fatal balls of murthering basilisks ; 
The venom of such looks, we fairly hope, 
Have lost their quality ; and that this day 
Shall change all griefs and quarrels into love. 
King. To cry amen to that, thus we appear. 
Charles. We have consented to all terms of reason. 
King. Is't so, my lords of England 1 
"West. The king hath granted every article: 

His daughter, first; and then, in sequel, all, 
According to their firm proposed natures. 
Exe. Only, he hath not yet subscribed this : — Where your majesty 
demands, — That the King of France, having any occasion to write for 
matter of grant, shall name your highness in this form, and with this 
addition, in French, — Noter tres cher filz Henry roy d' ' Anr/leierrc, hcriter 
de France ; and thus in Latin : — Prceclarissimus films noster Henricus, rex 
Angles, ct hares Francice. 

Charles. Nor this 1 have not, brother, so denied, 
But your request shall make ma let it pass.f 

* At this interview, which is described as taking place in the Church of Notre 
Dame, at Troyes, King Henry was attired in his armor, and accompanied by sixteen 
hundred warriors. Henry is related to have placed a ring of "inestimable value" 
on the finger of Katharine, " supposed to be the same worn by our English queen- 
consorts at their coronation," at the moment when he received tLe promise of the 
princess. 

Katharine was crowned Queen of England February 24, 1421 ; and shortly after 
the death of her heroic husband, which event took place August 31st, 1422, the queen 
married a Welsh gentlem in of the name of Owen Tudor, by whom she had three 
sons and one daughter. The eldest son, Edmund, married Margaret Beaufort, the 
heires3 of the house of Somerset. HLs half brother, Henry VI., created Lim Earl of 
Richmond. He died before he reached twenty years of age, leaving an infant son, 
afterwards Henry VII., the first king of the Tudor line. Katharine died 1437, in 
in the thirty-sixth year of her age, and wa3 buried at Westminster Abbey. 

t Councils were then holden for the ratification of the peace, and whatever articles 
had been disagreeable to the king of England in the treaty were then corrected ac- 
cording to his pleasure. "When relating to the peace had been concluded, King 
Henry, according to the customof France, affianced the Lady Catherine— Monstreld. 

The principal articles of the treaty were, that Henry should espouse Ihe Princess 
Catherine: That King Charles, during his lifetime, should enjoy the title and dig- 
nity of King of France : That Henry should be declared and acknowledged heir of 
the monarchy, and be intrusted with the present administration of the government : 
That that kingdom should pass to his heirs general : That France and England 
should for ever be united under one king, but should still retain their several usages, 
customs, and privileges : That all the princes, peers, vassals, and communities of 
France, should swear, that they would both adhere to the future succession of Henry 
and pay him present obodienco as regent : That this prince should unite his arms to 



ACT T.J HENRY THE FIFTII. 63 

King. I pray you, then, in love, and dear alliance, 
Let that one article rank with the rest : - 
And thereupon, give me your daughter.* 

Charles. Take her, fair son ; and from her hlood raise up 
Issue to me ; that the contending kingdoms 
Of France and England, whose very shores look pale 
With envy of each other's happiness, 
May cease their hatred ; and this dear conjunction 
Plant neighborhood and Christian-like accord 
In their sweet bosoms, that never war advance 
His bleeding sword 'twixt England and fair France. 

All. Amen ! 

King. Now welcome, Kate— and bear me witness all, 
That here I kiss her as my sovereign queen. 
God, the best maker of all marriages, 
Combine our hearts in one, our realms in one! 
That English may as French, French Englishmen, 
Receive each other ! — God speak this Amen ! 
•All. Amen! 

Flourish. — Picture, 

CURTAIN. 



STAGE DIRECTIONS, 

R. means Right of Stage, facing the Audience ; L. Left ; C. Centre ; It. C. Right 
of Centre ; L. C. Left of Centre. D. F. Door in the Flat, or Scene running across 
the back of the Stage ; C. D. F. Centre Door in the Flat ; R. D. F. Right Door in 
the Flat ; L. D. F. Left Door in the Flat ; R. D. Right Door ; L. D. Left Door ; 1 E. 
First Entrance ; 2 E. Second Entrance ; U. E. Upper Entrance ; 1, 2 or 3 G. First 
Second or Third Grooves. 

R. R. C. C. L. C. L. 

KF" The reader is supposed to be upon the stage facing the audience. 

those of King Charles and the Duke of Burguudy, in order to subdue the adherents 
of Charles, the pretended dauphin ; and that these three princes should make no 
peace or truce with him but by common consent and agreement. Such was the 
tenor of this famous treaty— a treaty which, as nothing but the most violent ani- 
mosity could dictate it, so nothing but the power of the sword could carry it into 
execution. — Hume's History of England. 

* On the morrow of Trinity-day the King of England espoused her in the parish 
church near to where he was lodged Great pomp and magnificence were displayed 
by him and his prince, as if he were at that moment King of all the world. — Mow 
strelet. 




"Sweetest Shake^pere, Nature's child , 

Warbles his native wood-notes wild."— Milton. 

Please notice that nearly all the Comedies, Farces and 
Comediettas in the following List of "De Witt's Acting Plays" 
are very suitable for representation in small Amateur Theatres 
and on Parlor Stages, as they need but little extrinsic aid from 
complicated scenery or expensive costumes. They have attained 
their deserved popularity by their droll situations, excellent 
plots, $reat humor and brilliant dialogues, no less than by the 
fact that they are the most perfect in every respect of any edi- 
tion of Plays ever published either in the United States or 
Europe, whether as regards purity of the text, accuracy and 
fulness of stage directions and scenery, or elegance of typo- 
graphy and clearness of printing. 

*4-* In ordering, please copy the figures at the commencement of "each 
piece, which indicate the number of the piece in " De "Witt's List of 
Acting Plays." & * 

UdP Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

Address, ROBERT M. DE WITT, 

JVo. 33 Hose Street, JYew Tork* 

LE WXTT ? S ACTIHG PLAITS- 

No. 

1 CASTE. An original Comedy in three acts, hy T. W. 

Robertson. A lively and effective satire upon the times, played successfully in 
America, at Wallack's. Five male aud three female characters. Costumes, 
modern. Scenery, the first and third acts, interior of a neat room ; the second 
a fashionable room. Time in representation, two hours and forty minutes. 

2 NOBODY'S CHIL.D. A romantic Drama in three acts, by 

Watts Phillips. Eighteen male and three female characters. A domestic 
drama, wonderfully successful in London, as it abounds in stirring scenes 
and capital situations. Costumes modern, suited to rural life in Wales. 
Scenery is wild and picturesque. Time in representation, two hours and a 
quarter. 

3 £100.000. An orip-inal Comedy in three acts,hy Henry J. 

Byron. Eight male and four female characters. A most effective piece, 
played with applause at W attack's. Costumes of the day. Two scenes are 
required — a comfortably furnished parlor and an elegant apartment. Time 
in representation, one hour and three quarters. <**.. 



DE WITT'S ACTING PLAYS. 



4 DANDELION'S BODGES. A Farce in one act, by Thomas 

J. Williams. Four male and two female characters. A rattling piece. The 
part of Dandelion excellent for a low comedian. Costumes of the day. Sce- 
nery, a picturesque landscape. Time in representation, fifty minutes. 

5 WILLIAM TELL WITH A VENGEANCE; or, the Pet, 

the Patriot and the Pippin. A grand new Burlesque by Henry J. Byron. 
Eight male and two female characters. Replete with telling allusions. Cos- 
tumes of the period of the middle ages, grotesquely exaggerated. Five 
scenes in Switzerland. Time in representation, one hour. 

6 SIX MONTHS AGO, A Comedietta in one act, "by Felix 

Dale. Two male and one female characters. A really effective little piece, 
suited to amateurs. " Costumes of the day. Scene, morning room in a country 
house. Easily produced. Time in representation, forty minutes. 

7 MAUD'S PERIL. A Drama in four acts, hy Watts 

Phillips. Five male and three female characters. Strong and sensational. 
Costume of English country life of the period. Scenery not elaborate. Time 
in representation, two hours and a half. 

8 HENRY DUNBAR ; or, a Daughter's Trials. A Drama 

in four acts, by Tom Taylor. Ten male and three female characters. One 
of the best acting plays of the day. Costumes of the period. Scenery 
modern English. "Time in representation, three hours. 

9 A FEARFUL TRAGEDY IN THE SEVEN DIALS. 

A farcical interlude in one act, by Charles Selby. Four male and one 
female characters. A very laughable piece, easily produced ; certain to bring 
down the house. Costumes of the day. Scene, a genteelly furnished bed- 
room. Time in representation, forty minutes. 

10 THE SNAPPING TURTLES; or, Matrimonial Masque- 

rading. A duologue in one act, by John B. Buckstone. One male and one 
female character, who assume a second each. Avery ludicrous farce ; has 
been eminently successful. Costumes of the day. Scene, a drawing room. 
Time in representation, one hour. 

11 WOODCOCK'S LITTLE GAME. A Comedy Farce in 

two acts, by J. Maddison Morton. Four male and four female characters. 
A sparkling, lively composition, by one of the most humorous dramatic 
authors. The part of Woodcock has been performed by Charles Mathews 
and Lester Wallack. Costumes of the period. Scenery, modern apartments, 
handsomely furnished. Time in representation, one hour. 

12 A WIDOW HUNT. An original Comedy in three acts. 

by J. Sterling Coyne. Four male and four female characters. An . inge- 
nious and well known alteration of the same author's " Everybody's Friend," 
the part of Major Wellington de Boots having been rendered popular by Mr. 
J. S. Clarke in England and America. Costumes and scenery of the 
period. Time in representation, two hours and a half. 

13 RUY BIAS. A romantic Drama in four acts, from the 

French of Victor Hugo. Twelve male and four female characters. This 
piece was eminently successful in London when produced by Mr. Fechter, 
It contains numerous scenes, capable of being performed unconnected with 
the drama, by amateurs. Spanish costumes of 1692. Scenery, halls and apart- 
ments in the royal palace at Madrid. Time in representation, three hours 
and a half. 

14 NO THOROUGHFARE. A Drama in five acts, with a 

prologue, by Charles Dickens and Wilkie Collins. Thirteen male and six 
female characters. Very successful as produced by Fechter in England and 
by Florence in America. Costumes modern but often changed. Scenery 
complicated ; English exteriors, Swiss interiors and Alpine passes. Time 
in representation,^three hours and forty minutes. 

lg> MILKY WHITE. A domestic Drama in two acts hy H. 

T. Craven. Four male and two female characters. A good acting, pathetic 
piece. Costumes English, of the present day. Scenery, an exterior and in- 
terior. Time in representation, one hour and a half. 



DE WITT'S ACTING PLAYS. 



No. 

16 DEARER THAN LIFE. A serio-coiaic Bramaiutliree 

acts, by Henry J. Byron. Six male and five female characters. An effective 
piece, which could be readily performed by amateurs with success. Cos- 
tumes, English of the day. Scenery, two interiors, easily arranged, Time in 
representation, two Lours. 

IT KIND TO A FAULT. An original Comedy in two acts, 

by William Brough. Six male and four female characters, A well written 
composition with well drawn characters. Costumes of the present day. 
Scenery, two elegantly furnished interiors. Time in representation, one 
hour and twenty minutes. 

18 IF I HAD A THOUSAND A YEAR. A Farce in one 

act, by John Maddison Morton. Four male and three female charac- 
ters. A sp'endid social sketch— the part of Green being excel ent for a good 
light comedian. Costumes of the present day ; and scenery, a neatly fur- 
nished interior. Time in representation, one hour and fifteen minutes, 

19 HE'S A LUNATIC. A Farce in one act, hy Felix Dale. 

Three male and two female characters. A sprightly, laughter-provoking 
production. Modern dn sses ; and scene, a drawing room. Time in repre- 
sentation, forty minutes. 

20 DADDY GRAY. A serio-comic Drama in three acts, 

by Andrew Halliclay. Eight male and four female characters. One of the 
author's most effective and natural compositions. Dresses of the present day. 
Scenery, interior of a cottage, a lawyer's office, street and archway, and 
cottage with landscape. Time in representation, two hours. 

21 DREAMS ; or. My Lady Clara. A Drama in five acts, hy 

T. W. Eobertson. Six male and three female characters. Pull of thrilling 
incidents, with several excellent parts for both male and female. Was suc- 
cessfully brought out at the Boston Museum and New York Fifth Avenue 
Theatre. Costumes, modern German and English. Scenery, interiors and 
gardens, rather complicated, but effective. 

22 DAVID GARRICK. A Comedy in three acts, hy T. W. 

Robertson. Eight male and three female characters. Most effectively per- 
formed by Mr. Suthern in England and m America with decided success. Cos- 
tumes, court dresses. Scenery, two interiors antiquely furnished. Time in 
representation, one hour and three quarters. 

23 THE PETTICOAT PARLIAMENT. An Extravaganza 

in one act, by Mark Lemon. Fifteen male and twenty-four female charac- 
ters. A revision of the "House of Ladies." Performed with great success 
at Mitchell's Olympic in New York. The costumes are extremely fanciful 
and exaggerated. Scenery, modern English. Time in representation, one 
hour and five minutes. 

24 CABMAN No. 93; or, Found in a Fonr Wheeler. A 

Farce in one act, by Thomas J. Williams. Two male and two female char- 
acters. A ludicrous piece, with a cabman for the first low comedian, and a 
stock broker as eccentric character part. Costumes of present day. Scene, 
a furnished room. Time in representation, forty minutes. 

25 THE BROKEN HEARTED CLUB. A Comedietta, hy 

J. Sterling Coyne. Four male and eight female characters. A laughable 
satire on the Women's Rights movement. Costumes modern English. 
Scenery, a drawing room. Time in representation, thirty minutes. 

26- SOCIETY. A Comedy in three acts, hy T. W. Rohert- 

son. Sixteen male and five female characters. A play exceedingly popular, 
intended to exhibit the foibles of British Society and to ridicule the election 
system. Costumes of the present day. Scenery elaborate. Time in repre- 
sentation, two hours and a half. 

27 TIME AND TIDE. A Drama in three acts and a pro- 
logue, by Henfy Leslie. Seven male and five female characters. An effec- 
tive piece, with novel and striking incidents. Costumes English, present 
day. Scenery, London marine scenery. Time in representation, two hours. 



28 A HAPPY PAIR. A Comedietta in one act, by S. 

Theyre Smith. One male and one female character. A neat dramatic 
sketch of a conjugal misunderstanding. Modern dresses. Scene, a drawing 
room. Time in representation, twenty minutes. 

29 TURNING THE TABLES. A Fare© in one act, by John 

Poole. Five male and three female characters. One of the happiest efforts 
of the famous author of "Paul Pry." The part of Jeremiah Bumps is re- 
dolent with quaint humor. A standard acting piece. Dresses and scenery 
of the present day. Time in representation, sixty-five minutes. 

30 THE GOOSE WITH THE GULDEN EGGS. A Farce 

in one act, by Augustus Mayhew and Sutherland Edwards. Five male and 
three female characters. Gay, rollicking, full of incessant action, having 
three of the most comical characters imaginable. Costumes of the present 
period. Scene, a lawyer's office. Time in representation, forty-five minutes. 

31 TAMING A TIGER. A Farce in one act, altered from 

the French. Three male characters. In this a dashing light comedian and 
fiery, petulant' old man cannot fail to extort applause. Modern dresses : and 
scene, a modern apartment. Time in representation, twenty five minutes. 

32 THE LITTLE REBEL. A Farce in one act, by J. Ster- 

ling Coyne. Four male and three female characters. An excellent piece 
•- for a sprightly young actress. Dresses and scenery of the present day. Easy 
of production. Time in representation, about forty-five minutes. 

33 ONE TOO MANY FOR HIM. A Farce in one act, by 

Thomas J. Willi,, .is. Two male and three female characters. Adapted 
from a popular jj'rench vaudeville. Costume of the time. Scene, parlor 
in country house. Time of representation, fifty minutes. 

34 LARKIN'8 LOVE LETTERS. A Farce in one act, by 

Thomas J. Williams. Three male and two female characters. The piece 
has excellent parts for first low comedy— first old man and a soubrette. 
Dresses of the day. Scene, a parlor. Time in representation, forty minutes. 

35 A SILENT WOMAN. A Farce in one act, by Thomas 

Hailes Lacy. Two male and one female characters. One of the prettiest 
little pieces on the English stage. Dresses of the period. Scene, a drawing 
room. Time in representation, thirty-five minutes. 

36 BLACK SHEEP, a Drama in three acts, from Edmund 

Yates' novel of the same name, and arranged for the stage by J. Palgrave 
Simpson and the author. Seven male and five female characters. Costumes 
of the present time. Scenery, an interior ; gardens at Homburg, and a 
handsome parlor. Time in playing, two and a half hours. 

31 A SILENT PROTECTOR. A Farce in oiie act by Thom- 
as J. Williams. Three male and two female characters. An active, bust- 
ling piece of ingenuity, which affords abundant opportunities for the display 
of Quickfidget's eccentricities. Costumes of the period. Scene, a drawing 
room. Time in representation, forty minutes. 

38 THE RIGHTFUL HEIR. A Drama in five acts, by Lord 

Lytton (Sir Edward Lytton Bulwer). Ten male and two female characters. 
A revision and improvement of the author's play of the "Sea Captain," 
originally produced under management of Mr. Macready. Costumes of the 
English Elizabethan period, armor, doublets, tights, &c. Scenery pictu- 
resque and elaborate. The play contains numerous scenes and passages, 
which could be selected for declamation. Time in representation, two hours 
and forty-five minutes. 

39 MASTER JONES' BIRTHDAY. A Farce in one act, by 

John Maddison Morton. Four male and two female characters. A very 
amusing and effective composition, particularly suited to amateurs. Dresses 
of the day; aDd scene, a plain interior. Time of playing, thirty minutes. 

40 ATGHI. A Comedietta in one act, by John Maddison 

Morton. Three male and two female characters. A gem in pleasantry, 
whose conclusion is irresistibly comic. Costume of the day. Scene, a taste- 
fully laid out garden. Time in representation, forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

41 BEAUTIFUL FOREVER. A Farce in one act, by Fred- 

erick Hay. Two male and two female characters. A sprightly satirical re- 
buke to those tiiat patronize advertised nostrums. Costumes of the day. 
Scene, a handsome interior. Time in representation, forty minutes. 

42 TIME AND THE HOUR. A Drama In three acts, by 

J Palgrave Simpson and Felix Dale. Seven male and three female charac- 
ters. An excellent acting play, full of life and incident, the parts of 
Medlicott and Marian Beck being capable of impressive representation— all 
others good; Costumes of the present period. Scenery, gardens and ex- 
terior, cottage and garden, and an old oaken chamber. Time in representa- 
tion, two hours and a half. 

43 SISTERLY SERVICE. An original Comedietta in one 

act, by J. P. Wooler. Seven male and two female characters. An interest- 
ing piece. Costumes, rich dresses of the musketeers of Louis XIII. 
Scenes, an apartment of that period, and a corridor in the royal palace of 
France. Time in representation, forty minutes. 

44 WAR TO THE KNIFE, a Comedy in three acts, by 

Henry J. Byron. Five male and four female characters. A pleasing, enter- 
taining and morally instructive lesson as to extravagant living ; capitally 
adapted to the stage. Costumes of the present time. Scenes, three interiors. 
Time in representation, one hour and three quarters. 

45 OUR DOMESTICS. A Comedy Farce in two acts, by 

Frederick Hay. Six male and six female characters. An irresistibly face- 
tious exposition of high life below stairs, and of the way in which servants 
treat employers during their absence. Costumes of the day. Scenes, 
kitchen and dining room. Time in representation, one hour and a half. 

46 MIRIAM'S CRIME. A Drama in three acts, by H. T. 

Craven. Five mab- and two female characters. One of the beet acting plays, 
and easily put on the stage. Costumes modern. Scenery, modern English 
interiors, two in number. Time in representation, two hours. 

47 EASY SHAVING. A Farce in one act, by F. C. Bnr- 

nand and M ntagu Williams. Five male and two female characters. A 
neat and effective piece, with excellent parts for low comedian and singing 
chamber maid. Costumes of the days of Charles II of England. Scene, a 
barber's shop. Time in representation, twenty-five minutes. 

48 LITTLE ANNIE'S BIRTHDAY. An original persona- 

tion Farce, by W. E. Suter. Two male and four female characters. A 
good furce, whose effectiveness depends upon a singing young lady, who 
could make the piece a sure success. Costumes modern. Scene, an apart- 
ment in an English country house. Time in representation, twenty-five 
minutes. 

49 THE MIDNIGHT WATCH. A Drf -na in one act, by 

J. Maddison Morton. Eight male and two female characters. A successful 
little play. Costumes of the time of the French Revolution of 1795. Scene, 
the platform of a fortress. Time in representation, one hour. 

50 THE PORTER'S KNOT. A serio-comic Drama in two 

acts, by John Oxenford. Eight male and two female characters. Interest- 
ing and thoroughly dramatic. Costumes of the day. Scenes, an interior of 
cottage and exterior of seaside hotel. Time in representation, one hour and 
a quarter. 

51 A MODEL OF A WIFE. A Farce in one act, by Alfred 

Wigan. Thre n male and two female characters. Most amusing in concep- 
tion and admirably carried out. Costumes of the day. Scene, a painter's 
studio. Time in representation, thirty-five minutes. 

52 A CUP OF TEA. A Comedietta in one act. Translated 

from the French of Une Tasse de The, by Charles Nuttier and J. Derley. 
Three male and one female characters. An exquisite petty comedy, well 
adapted for amateur representation. Costumes modern. Scene, handsome 
drawing room. Time in representation, thirty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

53 GERTRUDE'S MONEY BOX. A Farce in on© act, Tby 

Harry Lemon. Four male and. two female characters. A successful, well 
written piece ; an incident in rural life. Costumes of the present time. 
Scene, interior of a cottage. Time in representation, forty-five minutes. 

54 THE YOUNG COLLEGIAN (The Cantah). A Farce in 

one act, byT. W. Robertson. Three male and two female characters. A 
rattling piece, filled with ludicrous situations, which could be splendidly 
worked up by a good light comedian. Costumes modern ; and scene, a 
handsome interior. Time in representation, fifty minutes. 

55 CATHARINE HOWARD; or, the Throne, the Tomh 

and the Scaffold. An historical play in three acts [from the celebrated 
play of that name, by Alexander Dumas] ; adapted by W. D. Suter. Twelve 
male and five female characters. A most suecessful acting drama in both 
France and England. Costumes of the period of Henry VIII of England, 
artistic and. rich. Scenery elaborate and historical. Time in representa- 
tion, two hours and a half. 

58 TWO GAY DECEIVERS ; ©r, Black, Whit© and Gray. 

A Farce in one act by T. W. Robertson. Three male characters. Adapted 
from the French of one of the most laughable vaudevilles on the Parisian 
stage. Costumes of present day. Scene,"a cell in a police station. . Time in 
representation, forty minutes. 

57 NOEMIE. A Drama in two acts, translated and adapt- 

ed from the French of Dennery and Clement by T. W. Robertson. Four 
male and four female characters. Originally acted in Paris, this piece created 
such a sensation that it was produced subsequently at all the leading theatres 
of London. Costumes modern. Scenery, a garden scene and a richly 
furnished interior. Time in representation, one hour and a half. Easily 
put on the stage. 

58 DEE OR AH (LEAH) ; or, the Jewish Maiden's Wrong. 

A Drama in three acts, by Charles Smith Cheltnam. Seven male and six 
female characters. A strangely effective acting play. Costumes pictur- 
esque yet simple. Scenery elaborate and cumbersome to handle. Time in 
representation, two hours and fifteen minutes. Elegant extracts can be 
taken from this drama. 

59 THE POST BOY. An original Drama in two acts, "by 

H. T. Craven. Five mule and three female characters. Very successful. 
Costumes modern. Scenery, two interiors. Time of playing, an hour and 
a half. 

60 THE HIDDEN HAND; or, the Gray Lady of Perth 

Vennon. A Drama in four acts, by Tom Taylor. Five male and five female 
characters. Costumes of the period of James II of England. Scenery 
somewhat elaborate. Time in representation, two hours and a half. 

61 PLOT AND PASSION. A Drama in three acts [from 

the French], by Tom Taylor. Seven male and two female characters. A 
neat and well constructed play, admirably adapted to amateur representation. 
Costumes of the period of the First Empire, rich and attractive. Scenes, an 
interior in a French mansion, and one in a country villa. Time in represen- 
tation, one hour and a half. 

62 A PHOTOGRAPHIC FIX. A Farce in one act, "by 

Frederick Hay. Three male and two female characters. A brilliant, witty 
production. Costumes of the day. Scene, a photographic room. Time in 
representation, thirty-five minutes. 

63 MARRIAGE AT ANY PRICE. A Farce in one act, "by 

J. P. Wooler. Five male and three female characters. A decided success in 
London. Costumes of the day. Two scenes, a plain chamber and a garden. 
Time in representation, thirty minutes. 

64 A HOUSEHOLD FAIRY. A domestic Sketch in one act, 

by Francis Talf ourd. One male and one female character. A gem in its line ; 
artistic, dramatic and very natural. Modern costumes, and scene a poorly 
furnished apartment. Time in playing, twenty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

65 CHECKMATE. A Comedy in two acts, fcy Andrew Hal- 

liday. Six male and five female characters. Costumes, English, of the pres- 
ent day. Scenes, interior of a country hotel, and exterior of same, with 
landscape. Time in representation, one hour and a half. 

66 THE ORANGE GIRL. A Drama in a prologue and 

three acts, hy Harry Leslie and Nicholas Rowe. Eighteen male and four 
female characters. Costumes of the present day ; this piece require* con- 
siderable scenery, and some of an especial nature. Time in representation, 
two hours and a quarter 

67 THE BIRTHPLACE OF PODGERS. A Farce in one 

act, by John Hollingshead. Seven male and three female characters. A 
capital acting extravaganza, introducing a number of eccentric personages. 
Costumes of the present time. Scene, a workingman's room. Time in repre- 
sentation, forty minutes. 

68 THE CHEVALIER BE ST. GEORGE. A Drama in 

three acts, adapted from the French of MM. Velesville and Roger de Beauvoir, 
by T. W. Robertson. Nine male and three female characters. A very popu- 
lar and favorite play. Costumes, very rich, in velvet, court and hunting 
dresses, breeches, stockings, &c. Scenery, a tavern and garden, an interior, 
style Louis Seize, and a plainer interior. Time in representation, one hour 
and a half. . . 

69 CAUGHT BY THE CUFF. A Farce in one act, hy 

Frederick Hay. Four male and one female characters. An exquisitely 
ludicrous production, crammed with situations. Costumes of the day. 
Scene, a kitchen. Time in representation, forty minutes. 

70 THE BONNIE FISHWIFE. A Farce in one act, hj 

Charles Selby, Comedian. Three male and one female characters. A very 
sprightly piece, in which the lady is required to sing, and to be capable of 
assuming the Scottish dialect. The costumes, although modern, involve 
eccentric Scottish and deer stalking dresses. Scenes, a handsome chamber 
and interior of Highland cottage. Time of playing, forty-five minutes. 

71 DOING FOR THE BEST. A domestic Drama in two 

acts, by M. Rophino Lacy. Five male and three female characters. An 
effective acting piece, popular in London. Costumes of the day. Two scenes, 
one interior or cottage, the other a drawing room. Time in representation, 
one hour and a half. 

72 A LAME EXCUSE. A Farce in one act, Tby Frederick 

Hay. Four male and two female characters. Costumes of the day. Scene, 
a handsome interior. Time in represention, thirty-five minutes. 

73 A GOLDEN FETTER (FETTEREB). A Drama in three 

acts, by Watts Phillips. Eleven male and four female characters. Costumes 
of the present time. Scenery extensive and peculiar to the piece. Time in 
representation, one hour and a half. 

74 THE GARRICK FEVER. A Farce in one act, hy J. R. 

Planche. Seven male and four female characters. Costumes of the year 
1742— court dresses, regimentals, velvet trains, &e. Scenery, a plain interior. 
Time of representation, forty-five minutes. 

75 ADRIENNE ; or, the Secret of a Life. Drama in three 

acts, by Harry Leslie. Seven male and three female characters. A telling 
romantic drama. Italian and French costumes, civil and military. Scenery, 
elaborate interiors and landscapes. Time in representation, one hour and 
forty-five minutes. 

76 THE CHOPS OF THE -CHANNEL, An original Nauti- 

cal Farce in one act, by Frederick Hay. Three male and two female 
characters. A very mirth exciting and whimsical composition. Costumes 
of the present day. ficene, the saloon of a steamer. Time in representation, 
forty minutes. 



DE WITT'S ACTING PLAYS. 



No. 

77 THE ROLL OF THE DRUM. A romantic Drama in 

three acts, by Thomas Egerton Wilks. Eight male and four female charac- 
ters. A standard piece with the British theatres. Costumes of the period of 
the first French revolution. Scenery, interior of a farm house, a picturesque 
landscape and a drawing room. Time in representation, one hour and forty- 
five minutes. 

78 SPECIAL PERFORMANCES. A Farce in on© act, by 

Wilmot Harrison. Seven male and three lemale characters. A most ludi- 
crous, ingenious and sprightly production. Dresses of the present day. 
Scene, a chamber. Time in performance, forty minutes. 

79 A SHEEP IN 'WOLF'S CLOTHING. A domestic Drama 

in one act, freely adapted from Madame de Girardin's " Une F&mme qui 
deteste Son Mari," by Tom Taylor. Seven male and five female characters. 
A neat and pleasing domestic play, founded upon incidents following Mon- 
mouth's rebellion. Costumes of the time of James II of England. Scene, a 
tapestried chamber. Time of playing, one hour. 

80 A CHARMING PAIR. A Farce in one act, by Thomas 

J. Williams. Four male and three female characters. Costumes of the pre- 
sent day. Scene, a handsomely furnished apartment. Time in representa- 
tion, forty minutes. 

81 VANDYKE BROWN. A Farce in one act, by Adolphus 

Charles Troughton. Three male and three female characters. Popular 
wherever performed. Costumes of the present day. Scene, a chamber, 
backed by a window. Time of representation, one hour. 

82 PEEP O' DAY; or, Savourneen Dheelish. An Irish 

romantic Drama in four acts (derived from "• Tales of the O'Hara Family"), 
by Edmund Falconer. The New " Drury Lane ' ' version. Twelve male and 
four female characters. Costumes, Irish, m the year 1798. Scenery, illustra- 
tive of Munster. Time in representation, three hours. 

83 THRICE MARRIED. A personation piece in one act, 

by Howard Paul. Six male and one female characters. The lady sings, 
dances and assumes personification of a French vocalist, of a Spanish dancer 
and of a man of fashion. Costumes of the day. Scene, a room in a lodging 
house. Time in representation, three quarters of an hour. 

84 >T GUILTY. A Drama in four acts, by Watts Phillips, 

en male and six female characters. A thrilling drama found upon a fact. 
.Sostumes of the present day. Scenery illustrative of localities about 
Southampton and its harbor, and of others in India. Time in representa- 
tion, three hours. 

85 LOCKED IN "WITH A LADY. A Sketch from Life, 

by H. P.. Addison. One male and one female character. A very pleas- 
ins? and humorous interlude. Costume of the day, and scene a bachelor's 
apartment. Time in representation, thirty-five minutes. 

86 THE LADY OF LYONS ; or, Love and Pride. A Play in 

five acts, by Lord Lytton (Sir Edward Lytton Bulwer). Twelve male five 
female characters. Four of the male characters are very good ones ; and 
Pauline, Madame Deschapelles and the Widow Melnotte are each excellent 
in their line. The piece abounds in eloquent declamation and sparkling 
dialogue. This edition is the most complete in all respects ever issued. It 
occupies three hours in representation. The scenery, gardens and interior 
of cottage and mansion. Costumes French, of 1795. 

87 LOCKED OUT. A Comic Scene, illnstrative of what may 

occur after dark in a great metropolis ; by Howard Paul. One male and two 
female characters, with others unimportant. Scene, a street ; dress, mod- 
ern. Time in playing, thirty minutes. 

88 FOUNDED ON FACTS. A Farce in one act, by J. P. 

Wooler. Four male and two female characters. A favorite acting piece, 
easily put on the stage and never failing in success. Costumes of the pres- 
ent day. Scene, a hotel parlor. Time in representation, thirty-five minutes. 



DE WITT'S ACTING PLAYS. 



No. 

89 AUNT CHARLOTTE'S MAID. A Farce in one act, ly 

J. Maddison Morton. Three male and three female characters. One of the 
best of this prolific humorist's dramatic pieces. Dresses of the period, and 
scene an apartment in a dwelling house. Time in representation, forty 
minutes. 

90 ONLY A HALFPENNY. A Farce in one act, by John 

Oxenford. Two male and two female characters. Dresses of the present 
day, and scene an elegantly furnished interior. Time in representation, 
thirty-five minutes. 

91 WALPOLE ; or, Every Man has his Price. A Comedy in 

rhyme, by Lord Lytton. Seven male and two female characters. Costumes 
of the period of George I of England. Scenery illustrative of London locali- 
ties, and residences of the same era. Time of playing, one hour and ten 
minutes. 

92 MY "WIFE'S OUT. A Farce in one act, hy G. Herbert 

Kodwell. Two male and two female characters. This piece had a suc- 
cessful run at the Covent Garden Theatre, London. Costume modern, and 
scene an artist's studio. Time in representation, forty minutes. 

93 THE AREA BELLE. A Farce in one act, by 'William 

Brough and Andrew Halliday. Three male and two female characters. 
Costumes of the present time, and scene a kitchen. Time in performing, 
thirty minutes. 

94 OUR CLERKS ; or, No. 3, Fig Tree Court, Temple. An 

original Farce, in one act. Seven male and five female characters. Costumes 
modern, and scene a large sitting room solidly furnished. Time in represen- 
tation, sixty-five minutes. 

95 THE PRETTY HORSE BREAKER. A Farce, by Wil- 

liam Brough and Andrew Halliday. Three male and ten female characters. 
Costumes modern English, and scene a breakfast room in a fashionble man- 
sion. Time of playing, forty-five minutes. 

96 DEAREST MAMMA. A Comedietta in one act, by 'Wal- 

ter Gordon. Four male and three female characters. Costume modern 
English, and scene a drawing room. Time in representation, one hour. 

97 ORANGE BLOSSOMS. A Comedietta in one act, by J. 

P. Wooler. Three male and three female characters. Costume of the 
present day, and scene, a garden with summer house. Time in playing, 
fifty minutes. 

98 WHO IS WHO ? or, All in a Fog. A Farce, adapted 

from the French, by Thomas J. Williams. Three male and two female char- 
acters. Costumes, modern English dresses, as worn by country gentry ; and 
scene, parlor, in an old fashioned country house. Time of playing, thirty 
migutes. 

99 THE FIFTH WHEEL. A Comedy in three acts. Ten 

male and two female characters. An excellent American production, easily 
managed. Costumes of the modern day. Scenery not complicated. Time 
♦ of representation, about one hour and three quarters. 

100 JACK LONG. A Drama in two acts, by J. B. John- 

stone. Nine male and two female characters. Costume of the frontiers. 
Scenery illustrative of localities on the Texan frontier. Time of perform- 
ance, one hour and twenty minutes. 

101 FERN ANDE ; or, Forgive and Forget. A Drama in three 

acts, by Victorien Sardou. Eleven male and ten female characters. This 
is a correct Aversion of the celebrated play as performed in Paris and adapt- 
ed to the English stage, by Henry L. Williams, Jr. Costumes, modern 
French. Scenery, four interiors. Time in representation, three hours. 

102 FOILED ; or, a Struggle for Life and Liberty. A Drama 

in four acts, by O. W. Cornish. 9 males, 8 females. Costumes, modern 
American. Scenery— a variety of scenes required, but none elaborate. 
Time iu representation, three and a half hours. 



DE WITT'S ACTING PLAYS. 



103 FAUST AND MARGUERITE. A romantic Drama in 

three acts, translated from the French of Michel Carre, by Thomas 
William Robertson. Nine male and seven female characters. Costumes 
German, of the sixteenth century ; doublets, trunks, tights. Scenery, a 
laboratory, tavern, garden, street and tableau. Time in representation, 
two hours. 

104 NO NAME. A Br am a in five acts, Tbjr Wilkie Collins. 

Seven male and five female characters. A dramatisation of the author's 
popular novel of the same name. Costumes of the present day. Scenery, 
four interiors and a sea view. Time in representation, three hours. 

105 "WHICH OF THE TWO. A Comedietta in one act, by 

John M. Morton. Two male and ten female characters. A very neat and 
interesting peity comedy. Costume Russian. Scene, public room of an 
Inn. Time of playing, fifty minutes. 

106 UP FOR THE CATTLE SHOW. A Farce in one act, 

by Harry Lemon. Six male and two female characters. Costumes Eng- 
lish, of the present day. Scene, a parlor. Time in representation, forty 
minutes. 

107 CUPBOARD LOVE. A Farce in one act, "by Frederick 

Hay. Two male and one female characters. A good specimen of broad 
comedy. Dresses modern, and scene, a neatly furnished apartment. 
Time in representation, twenty minutes. 

108 MR. SCROGGINS; or, Change of Name. A F^rce in 

one act, by William Hancock. Three male and three female characters. 
A lively piece. Costumes of the present day. Scene, a drawing, room. 
Time in representation, forty minutes. 

109 LOCKED IN. A Comedietta in one act, "by J. P. Wool- 

er. Two male and two female characters. Costumes of the period. Seen", 
a drawing room. Time in representation, thirty minutes. 

110 POPPLETON'S PREDICAMENTS. A Farce in one 

act, by Charles M. Rae. Three male and six female characters. Costumes 
of the day. Scene, a drawing room. Time in representation, forty min- 
utes. 

111 THE LIAR. A Comedy in two acts, "by Samuel Foote. 

Seven male and two female characters. One of the best acting plays in 
any language. Costumes, embroidered court dresses, silk sacques, &c ; 
still thelnodern dress will suffice. Scenes— one, a park, the other a draw- 
ing room. Time in representation, one hour and twenty minutes. This 
edition, as altered by Charles Mathews, is particularly adapted for amateurs. 

112 NOT A BIT JEALOUS. A Farce in one act, by T. W. 

Robertson. Three male and three female characters. Costumes of the 
day. Scene, a room. Time of playing, forty minutes. 

113 CYRIL'S SUCCESS. A Comedy in five acts, by Henry 

J. Byron. Ten male and four fe-male characters. Costumes modern. 
Scenery, four interiors. Time in representation, three hours twenty 
minutes. 

114 ANYTHING FOR A CHANGE. A petite Comedy in 

one act, by Shirley Brooks. Three male and three female characters. 
Costumes present day. Scene, an interior. Time in representation, fifty- 
one minutes. 

115 NEW MEN AND OLD ACRES. A Comedy in three 

acts by Tom Taylor. Eight male and five female characters. Costumes 
present day. Scenery somewhat complicated. Time in representation, 
two hours. 

116 I'M NOT MESILF AT ALL. An original Irish Stew 

in one act, by C. A. Maltby. Three male and two female characters. Cos- 
tume of present day, undress uniform, Irish peasant and Highland dress. 
Scene, a room. Time in playing twenty-eight minutes. 



# DE WITT'S ACTING PLAYS. 



117 NOT SUCH A FOOL AS HE LOOKS. A farcical 

Drama in three acts, by Henry J. Byron. Five male and four female char- 
acters. Excellent for amateurs. Costumes of the day. Scenery, three 
interiors. Time in representation, two hours. 

118 WANTED, A YOUNG LADY. A Farce in one act, Toy 

W. E . Suter. Three male characters. Effective for amateurs. Costumes* 
of the day. Scene, a room. Time in playing, forty minutes. 

119 A LIFE CHASE. A Drama in five acts, by Adolph 

Belot ; translated by John Oxenfurd and Horace Wigan. Fourteen male 
and five female characters. Costumes modern French. Scenery elaborate. 
Time in representation, two hours and twenty minutes. 

120 A TEMPEST IN A TEAPOT. Petite Comedy in one 

act. Two male and one female characters. Admirably adapted for private 
performance. Costumes of the day. Scene, an interior. Time of repre- 
sentation, thirty-five minutes. 

121 A COMICAL COUNTESS. A Farce in one act, by 'Wil- 

liam Brough. Three male and one female characters. Costumes French, 
of last century. Scene, a drawing room. Time in representation, lorty 
minutes. 

122 ISABELLA ORSINI. A romantic Drama in fonr acts, 

by S. H. Mosenthal. Eleven male and four female characters. Costumes 
Italian, three hundred years ago. Scenery complicated. Time in repre- 
sentation, three and a half hours. 

123 THE TWO POLTS. A Farce in one act, by John 

Courtney. Four male and four female characters. Costumes modern. 
Scenery, a street and two interiors. Time in representation, forty-fiv«; 
minutes. 

124 THE VOLUNTEER REVIEW ; or, The Little Man in 

Green. A Farce in one act, by Thomas J. Williams. Six male and six 
female characters. Easily localized, as the " Home Guard," or "Militia 
Muster." Costumes of the day ; and scene, a room. Time in representa- 
tion, forty-five minutes. 

125 DEERFOOT. A Farce in one act, by T. C. Bnrnand. 

Five male and one female characters. Costumes of the day; and scene, a 
public house. Time in playing, thirty-five minutes. 

126 TWICE KILLED. A Farce in one act, by John Ox- 

enford. Six male and three female characters. Costumes modern ; scene, 
landscape and a drawing room. Time in playing, forty-five minutes. 

121 PEGGY GREEN. A Farce in one act, by Charles Selby. 

Three male and ten female characters. Costumes of the present day. 
Scene, a country road. Time in representation, forty-five minutes. 

128 THE FEMALE DETECTIVE; or, The Mother's Dying 

Child. A Drama in three acts, by C. H. Hazlewood. Eleven male and 
four female characters. Costumes of fifty years since. Scenery very 
elaborate. Time of playing two hours. ^ 

129 IN FOR A HOLIDAY. A Farce in one act, by F. C. 

Burn and. Two male and three female characters. Costumes of the period, 
and scene an interior. Time in performance, thirty-five minutes. 

130 MY WIFE'S DIARY. A Farce in one act. From the 

French of MM. Dennery and Clairville, by T. W. Robertson. Three male 
and one female characters. Costumes modern French, and scene a drawing 
room. Time in representation, fifty minutes. 

131 GO TO PUTNEY. A Farce in one act, by Harry 

Lemon. Four male and three female characters. Excellent for amateurs. 
Costumes of the day ; scene, a drawing room. Time in representation, 
forty -five minutes. 



DE WITT'S ACTING PLAYS. 



132 A RACE FOR A DINNER. A Fare© in on© act, by 

J. F. G. Eodwell. Ten male characters. A sterling piece. Costumes of 
the day. Scene, a tavern exterior. Time in representation, sixty minutes. 

133 TIMOTHY TO THE RESCUE. A Farce in one act, 

hy Henry J. Byron. Four male and two female characters. In this 
laughable piece Spangle assumes several personifications. Costumes of 
the day, and scene a plain interior. Time in representation, forty-five 
minutes. 

134 TOMPKINS, THE TROUBADOUR. A Fare© in on© 

act, by MM. Lockroy and Marc Michel. Three male and two female char- 
acters. Costumes modern, and scene an ironmonger's shop. Time in play- 
ing, thirty-five minutes. 

135 EVERYBODY'S FRIEND. A Comedy in three acts, 

by J. Sterling Coyne. Six male and five female characters. Costumes 
modern, and scenery three interiors. Time in performance, two and a 
half hours. 

136 THE WOMAN IN RED. A Drama in three acts and 

Prologue, by J. Sterling Coyne. Six male and eight female characters. 
Costumes French and Italian. Scenery complicated. Time of playing, 
three hours and twenty -five minutes. 

131 1/ ARTICLE 47; or Breaking the Ban. A Drama in 

three acts, by Adolph Belot, adapted to the English stage by Henry L. 
Williams. Eleven male and five female characters. Costumes French, 
of the day. Scenery elaborate. Time in representation, three hours and 
ten minutes. 

138 POLL AND PARTNER JOE: or, The Pride of Pnt- 

. ney and the Pressing Pirate. A Burlesque in one act and four scenes, by 
F. C. Burnand. Ten male and three female characters. (Many »f the male 
characters are performed by ladies.) Costumes modern, and scenery local. 
Time of playing, one hour. 

139 JOY IS DANGEROUS. A Comedy in two acts, hy 

James Mortimer. Three male and three female characters. Costume, 
modern French. Scenery, two interiors. Time in representation, one 
hour and forty-five minutes. 

140 NEVER RECKON YOUR CHICKENS, &c. A Farce 

in one act, by Wybert Reeve. Three male and four female characters. 
Modern costumes, and scene, an interior. Time in representation, forty 
minutes. 

•141 THE BELLS ; or, the Polish Jew. A romantic moral 

Drama in three acts, by MM. Erckmann and Chatrain. Nine male and three 
female characters. Costumes Alsatian, of present date. Scenery, two 
interiors and a court room. Time of playing, two hours and twenty min- 
utes. 

142 DOLLARS AND CENTS. An original American Com- 

edy in three acts, by L. J. Hollenius, as performed by the Murray Hill 
Dramatic Association. Nine male and four female characters. Costumes 
modern, and scenery, three interiors and one garden. Time in represen- 
tation, two and three quarter hours. 

143 LODGERS AND DODGERS. A Farce in one act, hy 

Frederick Hay. Four male and two female characters. Costumes of 
the present time. Scene, a furnished apartment. Time in representation, 
twenty-five minutes. One character a Yorkshire farmer. 

144 THE LANCASHIRE LASS ; or, Tempted, Tried and 

True. A domestic Melodrama in four acts and a Prologue, by Henry J. 
Byron. Twelve male and three female characters. Costumes of the pres- 
ent day. Scenery, varied and difficult. Time in representation, three 
hours. 



DE WITT'S ACTING PLAYS. 



145 TIRST LOVE. A Comedy in one act, "by Eugene Scribe. 

Adapted to the American stage by L. J. Hollenius. Four male and one 
female characters. Suitable for amateurs. Modern costumes, and scene, 
a parlor. Time in playing, forty-five minutes. 

146 THERE'S NO SMOKE WITHOUT FIRE. A Come- 

dietta in one act, by Thomas Picton. One male and two female charac- 
ters. Costumes of the present day, and scene, an apartment. Time in 
representation, forty minutes. 

147 THE OVERLAND ROUTE. A Comedy in three acts, 

by Tom Taylor. Eleven male and five female characters. Costumes East 
Indian (European). Scenery, steamship saloon and deck, and coral reef. 
Time in representation, two hours and forty minutes. 

148 CUT OFF -WITH A SHILLING. A Comedietta in 

one act, by S. Theyre Smith. Two male and one female characters. Scene, 
a drawing room. Time in playing, twenty-five minutes. 

149 CLOUDS. An American Comedy in four acts, Tby Fred. 

Marsden (W. A. Sliver). Eight male and seven female characters. Cos- 
tumes of the day. Scenery, cottage, river scene and drawing rooms. Time 
in representation, three hours. 

150 A TELL-TALE HEART. A Comedietta in one act, by 

Thomas Picton. One male and two female characters. Excellent for 
private representation. Costumes of the day. Scene, a villa room. Time 
in representation, forty minutes. 

151 A HARD CASE. A Farce in one act, by Thomas 

Picton. Two male characters. A most ludicrous piece for two performers. 
Costumes of the day. Scene, an interior. Time in playing, thirty-five 
minutes. 

152 CUPID'S EYE-GLASS. A Comedy in one act, by 

Thomas Picton. One male and one female characters. Adapted for ama- 
teur performance. Costumes of the day, and scene, a drawing room. 
Time in representation, twenty-five minutes. 

153 'TIS BETTER TO LIVE THAN TO DIE. A Farce 

in one act, by Thomas Picton. Two male and one female characters. Can 
be played readily and effectively by amateurs. Costumes, modern, and 
scene, an artist's studio. Time in representation, forty minutes. 

154 MARIA AND MAGDALENA. A Play in four acts, by 

L. J. Hollenius. Eight male, six female characters. An uniformly good 
stock company is alone needed to properly produce this charming piece. 
Costumes modern. Scenery, fine interiors and beautiful gardens. Time 
in representation, three hours, 

155 OUR HEROES. A Military Play in five acts, eight 

allegorical tableaux, and ten grand pictures, including a grand transfor- 
mation tableau, by John B. Renauld. Twenty-four male and five 
female characters. Large parties *f retired volunteers can appear with 
great effect in this play. Costumes modern, civil and military. Scenery, 
interiors of dwellings, encampments aud battle-fielas. 

156 PEACE AT ANY PRICE. A Farce in one act, by T. 

W. Robertson. One male and one female characters ; but a variety of 
voices are heard throughout the piece, the speakers being invisible. A 
capital sketch for two lively amateur comediaus. Costume modern. 
Scenery— there is but one scene throughout the piece— a meanly furnished 
apartment. Time in representation, twenty minutes. 

151 QUITE AT HOME. A Comedietta in one act, by Arthur 

Sketchley. Five male and two female characters. A real lively taking 
piece. All the characters passable. Costumes modern. Scenery, a shab- 
bily furnished apartment. Time in representation, forty-five minutes. 



158 SCHOOL. A Comedy in four acts, "by T. W. Robertson. 

Six male and six female characters. Is a- very superior piece, and has 
three characters unusually good for either sex. Could be played with fine 
effect at a girls' seminary. Costumes modern. Scenery, English land- 
scape and genteel interiors. Time in representation, two hours and forty 
minutes. 

159 IN THE WRONG HOUSE. A Farce in one act, by 

Martin Becher. Four male and two female characters. A very justly 
popular piece. Two of the male characters are excellent for light and low 
comedian. Good parts, too, for a young and old lady. Costumes modern. 
Scenery, an ordinary room. Time in representation, twenty-five minutes. 

160 BLOW TOR BLOW. A Drama in a Prologue and 

three acts, by Henry J. Byron. Eleven male and six female characters. 
Full of homely pathos as well as rich humor. Has several excellent parts. 
Costumes modern. Scenery, interiors of offices and dwellings. Time in 
representation, three hours. 

161 WOMAN'S VOWS AND MASONS' OATHS. In four 

acts, by A. J. H. Duganne. Ten male and four female characters. Has 
effective situations, line characters and beautiful dialogues. Costumes 
modern, with Federal and Confederate uniforms. Scenery, interiors in 
country houses, and warlike encampments. Time in performance, two 
hours and thirty minutes. 

162 UNCLE'S WILL. A Comedietta in one act, by S. 

Theyre Smith. Two male and one female characters. A brilliant piece ; 
can be easily played in a parlor. Costumes modern, and naval uniform 
for Charles. Scenery, set interior drawing room. Time in representation, 
thirty minutes. 

163 MARCO RETTI. A romantic Drama in three acts, by 

John M. Kingdom. Ten male and three female characters. A thrillingly 
effective piece, full of strong scenes. Costumes, brigands and rich Italian's 
dress. Scenery, interior of castle, mountain passes, and princely ball 
room. Time in representation, two hours. 

164 LITTLE RUBY ; or, Home Jewels. A domestic Drama 

in three acts, by J. J. Wallace. Six male and six female characters. 
This drama is at once affecting and effective. Little Ruby fine per- 
sonation for young prodigy. Costumes modern. Scenery, interior of 
dwelling and gardens. Time in representation, two hours. 

165 THE LIVING STATUE. A Farce in one act, by Joseph 

J. Dilley and James Allen. Three male and two female characters. Brinr 
• ful of fun. Trotter a great character for a droll low comedian. Costumes 
modern, with one old Roman warrior dress. Scenery, a plain interior. 

166 BARBELL vs. PICKWICK. A Farcical sketch in 

one act, arranged from Charles Dickens. Six male and two female cha- 
racters. Uncommonly funny. Affords good chance to 'take off" local 
legal celebrities. Costumes modern. Scenery, a court room. Time in 
performance, thirty minutes. 

167 APPLE BLOSSOMS. A Comedy in three acts, by James 

Albery. Seven male and three female characters. A pleasing piece, 
with rich part for an eccentric comedian. Costumes modern English. 
Scenery, exterior and interior of inn. Time in representation, two hours 
and twenty minutes. 

168 TWEEDIE'3 RIGHTS. A Comedy in two acts, by 

James Albery. Four male and two female characters. Has several ex- 
cellent characters. John Tweedie, powerful personation ; Tim Whiffler 
very funny. Costumes modern. Scenery, a stone mason's yard and 
modest interior. Time in representation, one hour and twenty-five 
minutes. 



DE WITT'S ACTING PLAYS. 



No. 

169 MY UNCLE'S SUIT. A Farce in one act, by Martin 

Beclier. Foxir male and one female characters. Haa a jolly good .low 
comedy part, a fine light comedy one, and a brisk, pert lady's maid. 
Costumes modern. Scenery, a well furnished sitting room. Tiine in rep- 
resentation, thirty minutes. 

170 ONLY SOMEBODY; or, Dreadfully Alarming. A 

Farce in one act. by Conway Bdwardes and Edward Cullerne. Four 
male and two female characters. Immensely funny. Full of queer 
incidents. Every way fitted for amateurs. Costumes modern. Scenery, 
a garden and back of a house. Time of playing, thirty minutes. 

71 NOTHING LIKE PASTE. A Farce in one act, by Cbas. 

Marsham Rae. Three male and one female characters. Every character 
superexcellent. Billy Doo a regular Burtonian part. Admirable piece 
for amateurs. Costumes modern. Scenery, exterior of a small villa, with 
gardens. Time in representation, forty minutes. 

172 OURS. A Comedy in three acts, by T. W. Robertson. 

Six male and three female characters. One of the best and most admired 
plays in our language — while a fair stock company can play it acceptably. 
It has several characters fit for stars. Costumes modern, with British 
military uniforms. Scenery, gardens, park, drawing room, and rude hut 
in the Crimea. Time of representation, two hours and thirty minutes. 

173 OFF THE STAGE. An entirely original Comedietta 

in one act, by Sydney Rosenfeld. Three male and three female characters, 
all equally excellent. One of the sprightliest, wittiest and most amusing 
little plays ever written, causing almost an hour's constant merriment. 
Costumes modern. Scene a handsome interior. 

174 HOME. A Comedy in tbree acts, by T. W. Robertson. 

Four male, three female characters. A charming piece. Needs but a 
small company. Every character very good. Costumes modern. Only one 
scene throughout the play. Time of representation, two hours. 

175 CAST UPON THE -WORLD. An entirely Original 

Drama in five acts, by Charles E. Newton. Ten male, five female charac- 
ters. A remarkably effective piece. Costumes modern. Scenery some- 
what elaborate, but very fine. Time of representation, two hours and 
thirty minutes. 

176 ON BREAD AND WATER. A Musical Farce in one 

act, being a free adaptation from the German, by Sydney Rosenfeld. A 
rollicking little piece. One male and two female characters. Containing a 
brilliant soubrette part. Costumes modern. Scene an uncarpeted school 
room. Time in representation, twenty-five minutes. 

177 I SHALL INVITE THE MAJOR. A Parlor Comedy 

in one act, by G. von Moser. Containing five characters, four male and 
one remale. A very pleasing little play, with good parts for all. Yery 
bright and witty. Costumes modern. Scene, a handsome interior. Time 
in representation, forty minutes. 

178 OUT AT SEA. An entirely Original Romantic Drama 

in a prologue and four acts, by Charles E. Newton. Sixteen male, five 
female characters. Powerfully written. Full of strong situations. Very 
telling scenic effects. Costumes modern, Time in representation, two 
hours" and ten minutes. 

179 A BREACH OF PROMISE. An extravagant Comic 

Drama in two acts, by T. W. Eobertson. Five male, two female charac- 
ters. A capital, very merry piece. Good for amateurs. Time in repre- 
sentation, one hour. Scenery, two interiors. Costume, modern. 

180 HENRY THE FIFTH. An Historical Play in five acts. 

By William Shakspeare. Thirty-eight male, five female characters. This 
grand play has a rare blending of the loftiest tragedy, with the richest and 
broadest humor. This edition is the most complete in every respect ever 
published. Costumes rich and expensive. Scenery, etc., very elaborate. 
Time of representation, three hours. 




an 

in 



" Let those laugh now who never laughed before ; 
And those who always laughed now laugh the more." 

Nothing so thorough and complete in the way of Ethiopian 
d Comic Dramas has ever been printed as those that appear 
the following list. Not only are the plots excellent, the char- 
acters droll, the incidents funny, the language humorous, but 
all the situations, by-play, positions, pantomimic business, 
scenery and tricks are so plainly set down and clearly explained, 
that the merest novice could put any of them on the Stage. In- 
cluded in this Catalogue are all the most laughable and effective 
pieces of their class ever produced. 

*£* In ordering, please copy the figures at the commencement of each 
Play, which indicate the number of the piece in " De Witt's Ethiopian 
and Comic Drama." 



Any of the following Plays sent, postage free, on receipt of 
price — fifteen cents. 

•Address as on first page of this Catalogue. 



he wiro masm ® comic dhama, 



1 THE LAST OF THE MOHICANS. An Ethiopian Sketch, 

by J. C. Stewart. Three male and one female characters. Costumes of 
the day, except Indian shirts, &c. Two scenes, chamber and wood. Time 
in representation, eighteen minutes. 

2 TRICKS. An Ethiopian Sketch, by J. C. Stewart. Five 

male and two female characters. Costumes of the period. Two scenes, 
two interiors. Time in representation, eighteen minutes. 

3 HEMMED IN. An Ethiopian Sketch, hy J. C. Stewart. 

Three male and one female characters. Costumes modern, and scene, a 
studio. Time in representation, twenty minutes. 

4 EH ? WHAT IS IT ? An Ethiopian Sketch, by J. C. Stewart. 

Four male and one female characters. Costumes of the day, and scene, a 
chamber. Time in representation, twenty minutes. 

5 TWO BLACK ROSES. An Ethiopian Sketch, by J. C. 

Stewart. Four male and one female characters. Costumes modern, and 
scene, an apartment. Time in representation, twenty minutes. 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



No. 

6 THE BLACK CHAP FROM WHITECHAPEL. An 

eccentric Negro Piece, adapted from Burnand and Williams' "'B. B " by- 
Henry L. Williams, Jr. Four male characters. Costumes modern. Scene, 
an interior. Time in representation, thirty minutes. 

7 THE STUPID SERVANT. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Characters very droll ; 
fit for star "darky" players. Costumes modern and fantastic dresses. 
Scenery, an ordinary room. Time in representation, twenty minutes. 

8 THE MUTTON TRIAL. An Ethiopian Sketch in two 

scenes, by James Maffit. Four male characters. Capital burlesque of 
courts of "justice;" all the parts good. Costumes modern and Quaker. 
Scenery, a wood view and a court room. Time in representation, twenty 
minutes. 

9 THE POLICY PLAYERS. An Ethiopian Sketch in one 

scene, by Charles White. Seven male characters. A very clever satire upon 
a sad vice. Costumes modern, and coarse negro ragged clothes. Scenery, 
an ordinary kitchen. Time ^representation, twenty minutes. 

10 THE BLACK CHEMIST. An Ethiopian Sketch in one 

scene, by Charles Wh te. Three male characters. All the characters are 
A 1, funny in the extreme. Costumes modern or Yankee— extravagant. 
Scenery, an apothecary's laboratory. Time in representation, seventeen 
minutes. 

11 BLACK-EY'D WILLIAM. An Ethiopian Sketch in two 

scenes, by Charles White. Four male, one female characters. All the 
parts remarkably good. Costumes as extravagant as possible. Scenery, a 
police court room. Time in representation, twenty minutes. 

12 DAGUERREOTYPES. An Ethiopian Sketch in one 

scene, by Charles White. Three male characters. Full of broad humor ; 
all characters excellent. Costumes modern genteel, negro and Yankee 

farbs. Scenery, ordinary room with camera. Time in representation, 
fteen minutes. 

13 THE STREETS OF NEW YORK; or, New York by 

Gaslight. An Ethiopian Sketch in one scene, by Charles White. Six male 
characters. Three of the parts very droll ; others good. Costumes some 
modern, some Yankee and some loaferish. Scenery, street view. Time 
in representation, eighteen minutes. 

14 THE RECRUITING OFFICE. An Ethiopian Sketch in 

one act, by Charles White. Five male characters A piece full of incidents 
to raise mirth. Three of the parts capital. Costumes extravagant, white 
and darkey, and a comical uniform. Scenery, plain chamber and a street. 
Time in representation, fifteen minutes. 

15 SAM'S COURTSHIP. An Ethiopian Farce in one act, 

by Charles White. Two male and one female characters. All the charac- 
ters particularly jolly. Two of the parts can be played in either white or 
black, and one "in Dutch. Costumes Yankee and modern. Scenery, plain 
chamber. Time in representation, twenty minutes. 

16 STORMING THE FORT. A burlesque Ethiopian Sketch 

in one scene, by Charles White. Five male characters. Richly ludicrous ; 
all the characters funny. Costumes fantastical, and extravagant military 
uniforms. Scenery, ludicrous " take off " of fortifications. Time in repre- 
sentation, fifteen minutes. 

17 THE GHOST. An Ethiopian Sketch in one act, "by 

Charles White. Two male characters. A right smart piece, full of laugh. 
Costumes ordinary " darkey " clothes. Scenery common looking kitchen. 
Time in representation, fifteen minutes. 

18 THE LIVE INDIAN ; or, Jim Crow. A comical Ethi- 

opian Sketch in four scenes, by Dan Bryant. Four male, one female 
characters. As full of fun as a hedgehog is full of bristles. Costumes 
modern and darkey. Scenery, chamber and street. Time in representation, 
twenty minutes. 



DE "WITT'S ETHIOPIAN AND COMIC DRAMA. 



19 MALICIOUS TRESPASS ; or, Points of Law. An Ethi- 

opian Sketch in one scene, by Charles White. Three male characters. 
Extravagantly comical ; all the parts very good. Costumes extravagant 
modern garbs. Scenery, wood or landscape. Time of playing, twenty 
minutes. 

20 GOING FOR THE CUP r or, Old Mrs. Williams' Dance. 

An Ethiopian Interlude, by Charles White. Pour male characters. One 
capital part for a bright juvenile ; the others very droll. Costumes modern 
and darkey. Scenery, a landscape or wood. Time in representation, 
twenty minutes. 

21 SCAMPINI. An anti-tragical, comical, magical and 

laughable Pantomime, full of tricks and transformations, in two scenes, 
by Edward Warden. Six male, three female characters. Costumes extra- 
vagantly eccentric. Scenery, plain rustic chamber. Time in representa- 
tion, thirty minutes. 

22 OBEYING ORDERS. An Ethiopian Military Sketch in 

one scene, by John Arnold. Two male, one female characters. Mary 
Jane, a capital wench part. The piece very jocose. Costumes ludicrous 
military and old style dresses. Scenery either plain or fancy chamber. 
Time of playing, fifteen minutes. 

23 HARD TIMES. A Negro Extravaganza in one scene, 

by Daniel D. Emmett. Pive male, one female characters. Needs several 
good players— then there is " music in the air." Costumes burlesque, 
fashionable and low negro dresses. Scenery, a kitchen. Time in represen- 
tation, twenty minutes. 

24 BRUISED AND CURED. A Negro Burlesque Sketch in 

one scene, by A. J. Leavitt. Two male characters. A rich satire upon 
the muscular furore of. the day. Costumes tights and guernsey shirts 
and negro dress. Scenery, plain chamber. Time iu representation, twenty 
minutes. ^ 

25 THE FELLOW THAT LOOKS LIKE ME. A laughable 

Interlude in one scene, by Oliver Durivarge. Two male characters— one 
female. Boiling over with fun, especially if one can make up like Lester 
Wallack. Costumes genteel modern. Scenery, handsome chamber. Time 
in representation, twenty-five minutes. 

26 RIVAL TENANTS. A Negro Sketch, hy George L. Stout. 

Four male characters. Humorously satirical ; the parts all very funny. 
Costumes negro and modern. Scenery, an old kitchen. Time of playing, 
twenty minutes. 

27 ONE HUNDREDTH NIGHT OF HAMLET. A Negro 

Sketch, by Charles White. Seven male, one female characters. Affords 
excellent chance for imitations of popular "stars." Costumes modern, 
some very shabby. Scenery, plain chamber. Time in representation, 
twenty minutes. 

28 UNCLE EPH'S DREAM. An Original Negro Sketch in 

two scenes and two tableaux, arranged by Charles White. Three male, 
one female characters. A very pathetic little piece, with a sprinkling of 
humor. Costumes, a modern southern dress and negro toggery. Scenery, 
wood, mansion and negro hut. Time in representation, twenty minutes. 

29 WHO DIED FIRST ? A Ne^ro Sketch in one Scene, by 

A. J. Leavitt. Three male, one female characters. Jasper and Hannah 
are both very comical personages. Costumes, ordinary street dress and 
common darkey clothes. Scenery, a kitchen. Time in representation, 
twenty minutes. 

30 ONE NIGHT IN A BAR ROOM. A Burlesque Sketch, 

arranged by Charles White. Seven male characters. Has a funny Dutchman 
and two good darkey characters. Costume, one Dutch and several mod- 
ern. Scenery, an ordinary interior. Time in representation, twenty min- 



DE WITT'S ETHIOPIAN AND COMIC DRAMA. 



31 GLYCERINE OIL. An Ethiopian Sketch, "by John Ar- 

nold. Three male characters, all good. Costumes, Quaker and eccentric 
modern. Scenery, a street and a kitchen. Time in representation, fifteen 
minutes. 

32 WAKE UP, WILLIAM HENRY. A Negro Sketch, ar- 

ranged by Charles White. Three male characters, which have been favor- 
ites of our best performers. Costumes modern— some eccentric. Scenery 
plain chamber. Time in representation, ten minutes. 

33 JEALOUS HUSBAND. A Negro Sketch, arranged hy 

Charles White. Two male, one female characters. Full of farcical dia- 
logue. Costumes, ordinary modern dress. Scenery, a fancy rustic cham- 
ber. Time in representation, twenty minutes. 

34 THREE STRINGS TO ONE BOW. An Ethiopian Sketch 

in one scene, arranged by Charles WLite. Four male, one female charac- 
ters. Full of rough, practical jokes. Costumes, modern. Scenery, a land- 
scape. Time in representation, fifteen minutes. 

35- COAL HEAVERS' REVENGE. A Negro Sketch in one 

scene, by George L. Stout. Six male characters. The two coal heavers 
have " roaring" parts. Costumes, modern, Irish and negro comic make 
up. Scenery, landscape. Time in representation, twenty minutes. 

36 LAUGHING GAS. A Negro Burlesque Sketch in one 

scene, arranged by Charles White. Six male, one female characters. Is a 
favorite with our best companies. Costumes, one modern genteel, the rest 
•ordinary negro. Scenery, plain, chamber. Time of playing, fifteen min- 
utes. 

37 A LUCKY JOB. A Negro Farce in two scenes, arranged 

by Charles White. Three male, two female characters. A. rattling, lively 
piece. Costumes, modern and eccentric. Scenery, street and fancy cham- 
ber. Time in representation, thirty minutes. 

38 SIAMESE TWINS. A Negro Burlesque Sketch, in two 

scenes, arranged by Charles White. Five male characters. One of the 
richest in fun of any going. Costumes, Irish, darkey and one wizard's 
dress. Scenery, a street and a chamber. Time in representation, twenty- 
five minutes. 

39 WANTED A NURSE. A laughahle Sketch in one 

scene, arranged by Charles White. Four male characters. All the charac- 
ters first rate. Costume, modern, extravagant, one Dutch dress. Scenery, 
a plain kitchen. Time in representation, twenty minutes. 

40 A BIG MISTAKE. A Negro Sketch in one scene, "by 

A. J. Leavitt. Four male characters. Full of most absurdly funny inci- 
dents. Costumes, modern ; one policeman's uniform. Scenery, a plain 
chamber. Time in representation, eighteen minutes. 

41. CREMATION. An Ethiopian Sketch in two scenes, "by 

A. J. Leavitt. Eight male, one female characters. Full of broad, palpable 
hits at the last sensation. Costumes modern, some eccentric. Scenery, a 
street and a plain chamber. Time in representation, twenty-five minutes. 

42. BAB WHISKEY. A comic Irish Sketch in one scene, 

by Sam Rickey and Master Barne\. Two male, one female characters. 
One of the very best of its class. Extravagant low Irish dress and a police- 
man's uniform. 

43 BABY ELEPHANT. A Negro Sketch in two scenes. 

By J. C. Stewart. Seven male, one female characters. Uproariously comic 
in idea and execution. Costumes, modern. Scenery, one street, one 
chamber. Time in representation, twenty-five minutes. 

44 THE MUSICAL SERVANT. An Ethiopian Sketch in 

one scene, by Phil. H. Mowrey. Three male characters. Very original 
and very droll. Costumes, modern and low darkey. Scenery, a plain 
chamber. Time iu representation, fifteen minutes. 



DE WITT'S ACTING PLAYS. 



No. 

45 REMITTANCE FROM HOME. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. A very lively piece, 
full of bustle, and giving half a dozen people a good chance. Time in repre- 
sentation, twenty minutes. 

46 A SLIPPERY DAY. An Ethiopian Sketch in one scene, 

by Robert Hart. Six male, one female characters. By a very simple mechan- 
ical contrivance, plainly planned and described in this book, a few persons 
can keep an audience roaring. Time in representation, sixteen minutes. 

47 TAKE IT, DON'T TAKE IT. A Negro Sketch in one 

scene, by John Wild. Two male characters. Affords a capital chance for 
two good persons to "do" the heaviest kind of deep, deep tragedy. 
Time of representation, twenty-three minutes. 

48 HIGH JACK, THE HEELER. An Ethiopian Sketch in 

one scene, by A. J. Leavitt. Six male characters. Happily hits off the short- 
haired bragging "fighters 1 ' that can't lick a piece of big taffy. Time of 
playing, twenty minutes. 

49 ANIGHT IN A STRANGE HOTEL. A laughable Negro 

Sketch in one scene, arranged by Charles White. Two male characters. Al- 
though this piece has only two personators, it is full of fun. Time in rep- 
resentation, eighteen minutes. 

50 THE DRAFT. A Negro Sketch in one act and two scenes, 

by Charles White. Six male characters. A good deal of humor of the Mulli- 
gan Guard -nd Awkward Squad style, dramatized. Time in representation, 
eighteen minutes. 

51 FISHERMAN'S LUCK. An Ethiopian Sketch in one 

scene, by Charles White. Two male characters. Decidedly the best " fish 
story " ever told. It needs two " star " darkeys to do it. Time in represen- 
tation, fifteen minutes. 

52 EXCISE TRIALS. A Burlesque Negro Sketch in one 

scene, arranged by Charles White. Ten male, one female characters. Full of 
strong local satire ; can be easily adapted to any locality. Time of repre- 
sentation, twenty minutes. 

53 DAMON AND PYTHIAS. A Negro Burlesque, by Chas. 

White. Five male, one female characters, in two scenes. A stunning bur- 
lesque of the highfalutin melodrama ; capital for one or two good imita- 
tors. Time of representation, fifteen minutes. 

54 THEM PAPERS. An Ethiopian Sketch in one scene, by 

A. J. Leavitt. Three male characters. Full of comical mystifications and 
absurdly funny situations. Time of representation, fifteen minutes. 

55 RIGGING A PURCHASE. A Negro Sketch in one scene, 

by A. J. Leavitt. Three male characters. Full of broad comical effects. 
Time in representation, fifteen minutes. 

56 THE STAGE STRUCK COUPLE. A laughable Inter 

lude in one scene, by Charles White. Two male, one female characters. 
Gives the comical phase of juvenile dramatic furor; very droll, contrasted 
with the matter-of-fact darkey. Time in representation, fifteen minutes. 

57 POMPEY'S PATIENTS. A laughable Interlude in two 

scenes, arranged by Charles White. Six male characters. Very funny 
practical tricks of a fast youth to gain the governor's consent to his wed- 
ding his true love. Half a dozen good chances for good actors. Time in 
representation, twenty minutes. 



DE WITT'S ACTING PLAYS. 



58 GHOST IN A PAWN SHOP. An Ethiopian Sketch in 

one scene, by Mr. Mackey. Four male characters. As comical as its title ; 
running over with practical jokes. Time of representation, twenty min- 
utes. 

59 THE SAUSAGE MAKERS. A Negro Burlesque Sketch 

in two scenes, arranged by Charles White. Five male, one female charac- 
ters. An old story worked up with a deal of laughable effect. The ponder- 
ous sausage machine and other properties need not cost more than a 
couple of dollars. Time of representation, twenty minutes. 

60 THE LOST WILL. A Negro Sketch, fcy A. J. Leavitt. 

Four male characters. Very droll from the word "go." Time of repre- 
sentation, eighteen minntes. 

61 THE HAPPY COUPLE. A Short Humorous scene, ar- 

ranged by Charles White. Two male, one female characters. A spirited 
burlesque of foolish jealousy. Sam is a very frolicsome, and very funny 
I young darkey. Time of playing, seventeen minutes. 

62 VINEGAR BITTERS. A Negro Sketch in one scene, ar- 

ranged by Charles White. Six male, one female characters. A broad bur- 
lesque of the popular patent medicine business ; plenty of humorous inci- 
dents. Time of representation, fifteen minutes. 

63 THE DARKEY'S STRATAGEM. A Negro Sketch in one 

act, arranged by Charles White. Three male, one female characters. Quaint 
courtship scenes of a pair of young darkies, ludicrously exaggerated by the 
tricks of the boy Cupid. Time of representation, twenty minutes. 

64 THE DUTCHMAN'S GHOST. In one scene, hy Larry 

Tooley. Four male, one female characters. Jacob Schrochorn, the jolly 
shoemaker and his frau, are rare ones for raising a hearty laugh. Time of 
representation, fifteen minutes. 

65 PORTER'S TROUBLES. An Amusing Sketch in one 

scene, by Ed. Harrigan. Six male, one female characters. A laughable ex- 
position of the queer freaks of a couple of eccentric lodgers that pester a 
poor "porter. 11 Time in representation, eighteen minutes. 

66 PORT WINE vs. JEALOUSY. A Highly Amusing 

Sketch, by William Carter. Two maie, one female characters. Twenty 
minutes jammed full of the funniest kind of fun. 

67 EDITOR'S TROUBLES. A Farce in one scene, fcy Ed- 

ward Harrigan . Six male characters. A broad farcical description of the 
running of a country journal "under difficulties," Time of representa- 
tion, twenty-three minutes. 

68 HIPPOTHEATRON OR BURLESQUE CIRCUS. An 

Extravagant, funny Sketch, by Charles White. Nine male characters. A 
rich burlesque of sports in the ring and stone smashing prodigies. Time of 
playing, varies with "acts 1 ' introduced. 

69 SQUIRE TOR A DAY. A Negro Sketeh, hy A. J. 

Leavitt. Five male, one female characters. The " humor of it " is in the 
mock judicial antics of a darkey judge for a day. Time of representation, 

twenty minutes. 

70 GUIDE TO THE STAGE. An Ethiopian Sketch, hy Chas. 

White. Three male characters. Contains some thumping theatrical hits of 
the " Lay on Macduff," st}de. Time of playing, twelve minutes. 



MAHTTSCEIH PLATS, 



Below will -be found a List of nearly all the great Dramatic 
successes of the present and past seasons. Every one of these 
Plays, it will be noticed, are the productions of the most eminent 
Dramatists of the age. Nothing is omitted that can in any 
manner lighten the duties of the Stage Manager, the Scene 
Painter or the Property Man. 



ON THE JURY. A Drama, in four Acts. By Watts Phil- 
lips. This piece has seven male and four female characters. . 

ELFIE; or, THE CHERRY TREE INN. A Romantic 

Drama, in three Acts. By Dion Boucicault. This piece has six male and 
four female characters. 

THE TWO THORNS. A Comedy, in four Acts. By James 

Albery. This piece has nine male and three female characters. 

A WRONG MAN IN THE RIGHT PLACE. A Farce, in 

one Act. By John Oxenford. This piece has one male and three female 
characters. 

JEZEBEL ; or, THE DEAD RECKONING. By Dion Bou- 

cicault. This piece has six male and fiv*. female characters. 

THE RAPAREE ; or, THE TREATY OF LIMERICK. A 

Drama, in three Acts. By Dion Boucicault. This piece has nine male and 
two female characters. 

TWIXT AXE AND CROWN; or, THE LADY ELIZA- 

beth. An Historical Play, in five Acts. By Tom Taylor. This piece has 
twenty-five male and twelve female characters. 

THE TWO ROSES. A Comedy, in three Acts. By James 

Albery. This piece has five male and four female characters. 

M. P. (Member of Parliament.) A Comedy, in four Acts. 

By T. W. Robertson. This piece has seven male and five female characters. 

MARY WARNER. A Domestic Drama, in four Acts. By 

Tom Taylor. This piece has eleven male ^nd five female characters. 

PHILOMEL. A Romantic Drama, in three Acts. By H. T. 

Craven. This piece has six male and four female characters. 

UNCLE DICK'S DARLING. A Domestic Drama, in three 

Acts. By Henry J. Byron. This piece has six male and five female cha- 
racters. 

LITTLE EM'LY. (David CopT>erfield.) A Drama, in four 

Acts. By Andrew Halliday. "Little Em'ly" has eight male and eight 
female characters. 



DE WITT'S MANUSCRIPT PLATS. 



FORMOSA. A Drama, in four Acts. By Dion. Boucicault. 

This piece has eighteen male and eight female characters. 

HOME. A Comedy, in three Acts. By T. W. Robertson. 

" Home " has four male and three female characters. 

AN ENGLISH GENTLEMAN ; or, THE SQUIRE'S EAST 
Shilling. A Drama, in four Acts. By Henry J. Byron. This piece con- 
tains nine male, four female characters. 

FOUL PLAY. A Drama, in four Acts. By Dion Boucicault. 

This piece has fourteen male and two female characters. 

AFTER DARK. A Drama, in four Acts. By Dion Bouci- 

cault. This piece has fourteen male and two female characters. 

ARRAH-NA-POGUE. A Drama, in three Acts. By Dion 

Boucicault. This piece has fourteen male and two female characters. 

BREACH OF PROMISE. A Comic Drama, in two Acts. By 

T. W. Eobertson. The piece has five male and two female characters. 

BLACK AND WHITE. A Drama, in thres Acts. By Wilkie 

Collins and Charles Fechter. This piece has six male and two female cha- 
racters. 

PARTNERS FOR LIFE. A Comedy, in three Acts. By 

Henry J. Byron. This piece has seven male and four female characters. 

KERRY ; or, Night and Morning. A Comedy, in one Act. 

By Dion Boucicault. This piece contains four male and two female char- 
acters. 

HINKO ; or, THE HEADSMAN'S DAUGHTER. A Roman- 
tic Play, in a Pro oguc and five Acts. By W. G. Wills. The Prologue con- 
tains four male and three female characters. The Play contains ten male 
and seven female characters. 

NOT IF I KNOW IT. A Farce, in one Act. By John Mad- 

dison Morton. This piece contains four male and four female characters. 

DAISY FARM. A Drama, in fonr Acts. By Henry J. Byron 

This piece contains ten male and four female characters. 

EILEEN OGE ? or. DARK'S THE HOUR BEFORE THE 
Dawn. A Drama, m four Acts. By Edmund Falconer. This piece con" 
tains fifteen male and four female characters. 

TWEEDIE'S RIGHTS. A Comedy-Drama, in two Acts. By 

James Albery. This piece has four male, two female characters. 

NOTRE DAME; or, THE GIPSY GIRL OF PARIS. A 
Romantic Drama, in three Acts. By Andrew Halliday. This play has 
seven male, four female characters. 

JOAN OF ARC. A Tragedy, in Five Acts. By Tom Taylor. 

This piece has twenty-one male, four female characters. 



Manuscript copies of these very effective and very suc- 
cessful plays are now ready, and will be furnished to Man- 
agers on very reasonable terms. 



DE WITT'S ELOCtTTIOHARV SERIES, 

PRICE 15 CENTS EACH. 



Young people who were desirous of acquiring a practical knowledge of the beauti- 
ful, as well as highly useful art of Reading and Speaking correctly and elegantly, 
have found great difficulty in procuring books that would teach them rather in the 
manner of a genial friend than an imperious master. Such books we here present 
to the public in " fie Witts Elocutionary Series." 1,1 Not only are the selections made 
very carefully from the abundant harvest of dramatic literature, but the accompany- 
ing instructions are so plain, direct and forcible, that the least intelligent can 
easily understand all the rules and precepts of the glorious ai t that has immortalized 
Boscius and Kean, Chatham and Henry. 



No. 1. THE ACADEMIC SPEAKER. Containing an un- 
usual variety of striking Dramatic Dialogues, and other most effective 
scenes. Selected with great care and judgment from the noblest and 
wittiest Dramas, Comedies and Farces most popular upon the best stages. 
Interspersed with such able, plain and practical criticisms and remarks 
upon Elocution and stage effects, as to render this work the most valuable 
hand-book to the young orator that has ever been produced. 

CONTENTS — General Introductory Remarks ; On the quality of Selections ; On True Eloquence ; 
On Awkward Delivery ; On necessity of Attentive Study ; On Appropriate Gesture ; On the 
Appearance of Ladies upon the Stage ; The Stage and the Curtain ; Remarks upon the suhject 
of Scenery ; How to easily Construct a Stage ; Stage Arrangements and Properties ; Remarks 
upon improvising Wardrobes, etc., etc. There are Twelve pieces in this book that require two 
Male Characters ; Six pieces that require six Male Characters ; Two pieces that require Jour 
Male Characters. . j. 

No. 2. THE DRAMATIC SPEAKER. Composed of many 

very carefully chosen Monologues, Dialogues and other effective Scenes, 
from the most famous Tragedies, Comedies and Farces. Interspersed with 
numerous Directions and Instructions for their proper Delivery and Per- 
formance. 

CONTENTS.— There are three pieces in this book that require one Male Character; One that requires 
three Male Characters ; Ten that require two Male Characters , Nine that require one Male and 
one Female Characters ; Four that require three Male Characters ; One that requires two Male and 
one Female Characters ; One that requires two Female Characters ; One that requires one Male and 
two Female Characters. 

No. 3. THE HISTRIONIC SPEAKER. Being: a careful 

compilation of the met amusing Dramatic Scenes, light, gay, pointed, 
witty and sparkling. Selected from the most elegantly written and most 
theatrically effective Comedies and Farces upon the English and American 
Stages. Properly arranged and adapted for Amateur and Parlor Kepresen- 
tation. 

CONTENTS.— T7iree of the pieces in this book require too Female Characters; One piece requires 
seven Female Characters ; Nineteen pieces that require one Male and one Female Characters ; One 
piece that requires one Male and two Female Chax-acters ; One piece that requires two Male and 
one Female Characters. 

No. 4. THE THESPIAN SPEAKER. Being the best Scenes 

from the best Plays. Every extract is preceded by valuable and very plain 
observations, teaching the young Forensic Student how to Speak and Act 
in the most highly approved manner. 

CONTENTS. — Five of the pieces in this book require one Male and one Female Characters ; Three of 
the pieces require three Male Characters ; Three ol the pieces require two Male and one Female 
Characters ; Seven of the pieces require two Male Characters ; One of the pieces require one Male 
and one Female Characters : Two of the pieces require tim Male and two Female Characters ; One 
of the pieces require four Male and four Female Characters ; Three of the pieces requlra three 
Male and one Female Characters. 

*£* Single copies sent, on receipt of price, postage free. 
gS^P Address as per first page of this Catalogue, 



/ 



No. 

83. Last FareweU Tucker. 

86. My Heart is Thine Alone. .Glover. 

87. Come Back to Erin Clarlbel. 

88. Morn on the Meadov... Wrighton. 

90. Sad Brown Leaves Chan trey. 

91. Fond Memory Glover. 

93. I Heard a Spirit Sing. Taylor. 

94. Autumn T w ilig ht Glover. 

95. Rocked in the Cradle of the 

Deep Tucker. 

98. Origin of the Harp Moore. 

lOO. Strangers Yet Clarlbel. 

102. Sweet Land of Tyrol ..Theresa. 

103. My Pretty Bird, Sing On. 

Llndbland. 

104. Spring and Autumn Tucker. 

106. Upon the Snowy Mountain Tops. 

Moller. 

107. Ave Maria Guonod. 

HO. Believe Me if all Endearing 

Charms Moore. 

114. Children's Voices , Claribel. 

115. Long, Long Weary Day ... Tucker. 
lie. Why was I Looking Out ? 

Blumenthal. 
117. Angels Ever Bright and Fair. 

Tucker. 

188. Annie Laurie Tucker. 

193. My Pretty Jane Bishop. 

134. Distant Land Henslett. 

125. Dream of Love Kodwell. 

1ST. X Love and I am Beloved. .Richard. 

138. Xenia Lutz. 

139. On the Mountains Benedict. 

130. Oh, Waly, Waly, Up the Bank. 

Blumenthal. 

131. The Birds were Telling One 

Another Smart. 

133. Come Sit Thee Down Sinclair. 

133. The Standard Bearer. .Lindpainter. 

134. Shells of Ocean Cherry. 

135. Isle of Beauty, Fare Thee Well. 

Bayley. 

136. Bloom Again, Sweet Prison 

Flower Young. 



137. 

138. 

139. 
140. 



145. 
146. 

147. 



153. 
154. 



160. 
163. 

164. 
165- 

166. 
167. 
168. 
169. 
17©. 
174. 
175. 
178. 

180. 
183. 
186. 
196. 
197. 

198. 
300 



Composer. 

Ever of Thee Hall. 

As I'd Nothing Else to Do. 

Hatton. 

Grieve Not for Me Wrighton. 

I Cannot Sing the Old Songs. 

Claribel. 

Why Do Summer Roses Fade? 

Barker. 

I Cannot Mind my Wheel, 

Mother Linley. 

Araby's D aughter. Kiallmark. 

Young Jenny Allen. 

O Fair Dove ! O Fond Dove ! 

Gatty. 

Oh, Keep Me in Your Memory. 

Glover. 

Upon the Danube River. ..Tucker. 

Just Touch the Harp Gently, My 

Pretty Louise Blamphin. 

When the Corn is Waving, 

Annie Blamphin. 

Love's Secret Tucker. 

When my Ship Comes Home. 

Lee. 

Bird on the Tree -Nish. 

Yeoman's Wedding Song, 

Poniatowskl. 

Linden Waltx Aide. 

Michael Bray Philp. 

Lover's Pen Poniatowski. 

Eily's Reason Molloy. 

With the Stream Tours. 

Out in the Cold Bagnall. 

The Wishing Cap Wrighton. 

The Island of Green. 

Arranged by Tucker. 

Meeting in Heaven Wrighton. 

Jenny of the Mill Leduc. 

Esmeralda Levey. 

Heavenly Golden Shore. Rosenthal. 
Don't You Bemember, Love ? 

Lawrence. 

Hark ! the Drum Nish. 

. Anita (the Chieftain's Wife). 
Richards. 



OPERATIC SONGS. 



lO. Little Blue Butterfly Herve. 

37. Loving Daughter's Heart. .. .Balfe. 

39. Paradise of Love Balfe. 

69. O Bare Malvoisie! Offenbach. 

71. Light of Other Days Balfe. 

73. Rhotomago's Partner Fair. 

Offenbach. 

77. Ah! What a Fate! Offenbach. 

SO. Then You'll Remember Me.. Balfe. 

81. Turtle Doves Offenbach. 

83. 'Tis Sad to Leave Our Father, 
land Balfe- 



84. 

85. 



93. 
97. 



On Yonder Rock Reclining... Anber. 
Walk Up Now, This is No Hum- 
bug. 
Song of the Tight Rope Dancer. 

Offenbach. 

These Aching Teeth Offenbach. 

Painted so Fine — Eyes Divine. 

Offenbach. 

Anvil Chorus Yerdi. 

Fool, You may Say it if You 
Please Offenbach. ! 



jfo. Composer. 

COS. Oh. Flowers so Fair and Sweet, 

Offenbach. 

lOS. Mlgnon Thomas. 

109. Pleased with Myself Offenbach. 

111. Heart Bowed Down Balfe. 

118» Young: Agnes, Beauteous 

Flower ; Auber. 

113. I Dreamt I Dwelt iu Marble 

Balls. Balfe. 

118. Ber Gentle Voice Expressed, etc. 

Balfe. 



LIBRARY OF CONGRESS 

MHN 



*5J11JW4 849 4 



Heme. 



COMIC AND SERIO COMIC SONGS. 



1. Pretty Polly, if you Love Me. 

Coote. 

8. Fisherman's Daughter Bagnall. 

4. I'll Tell Your Wife Egerton. 

tt. Up in a Balloon Hunt. 

9. Captain Jinks Maclagan. 

11. Champagne Charlie Lee 

18. Thady O'Flynn Molloy. 

13. Tassels on the Boots Tucker. 

15. Tommy Dodd Clarke. 

IT. That's the Style for Me Young. 

18. Pretty Little Flora Leyborne. 

19. Bother the Men Walker 

88. I Wish I was a Fish Hunt. 

£4. Put it Down to Me Gatty. 

88. Oh, Wouldn't You Lite to Know? 

Musgrave. 

30. Where is my Nancy? Hnnt. 

33. Immenseikoff Lloyd. 

38. Good-bye, John; or, Chickabiddy. 

40. Beau of Saratoga Vance. 

48. Not for Joseph Lloyd. 

44. California Gold Hunt. 

48. Susan, Susan, Pity my Confusion. 

Burnam. 

SO. Walking in the Park Lee. 

52. Bell Goes a-Biuging for Sa-i-rah. 

Hunt. 

53. Call Ber Back and Kiss Her. 

Minasi. 

56. Flying Trapeze.... Lee. 

58. It's Nice to be a Father Hunt. 



66. She Danced Like a Fairy ..Dudley. 
69. I Never Go Fast of Madison 
Square. 

68. Lancashire Lass Williams. 

36. Bo-wjng Borne in the Morning. 
Edgerton. 
151. If Ever I Cease to Love. .Leybourne. 
153. His Heart -was True to Poll. 

'"ucker, 

156. I'm a Timid, Nervous Man. 

Cherry. 

157. Bhein "Wine Sharley.. .Leybourne. 

158. Heathen Chinee... Tucker. 

168. Housekeeper's 'Woes...., .Fechter. 
171. Down in a Coal Mine.. .Geoghegan. 

178. Dolly Varden Lee. 

1*73. Little Coquette Lee. 

ITS. Good-bye, Charlie. Hunt. 

181. Bom! Bom! Bom! Hunt. 

183. Modern Times Coote. 

184. The Hardware Line Banks. 

185. Jack's Present. Byron. 

189. When the Band Begins to Play. 

Hunt. 

190. Upon the Grand Parade. . .Davies. 

191. Ada with the Golden Hair. 

G. W. M. 
198. Awfully Clever Hnnt. 

193. Perhaps She's on the Railway. 

McCarthy. 

194. Mother Says I Mustn't ...Hunt. 



MOTTO SONGS. 



34. Way of the World Ellery. 

36. It's All the Same to Sam... Hunt. 

46. It's Better to Laugh than to Cry. 

Clifton. 

54. On, Boys, On, the Course is 

Always Clear Fetchet. 

60. Act on the Square, Boys.... Lee. 

177. A Bit of my Mind 7... Bell. 

179. An Old Man's Advice Tinney. 

187. Up and be Doing Smith. 

188. Ten Minutes Too Late Clifton. 



195. "Would You be Surprised ?. .Coote. 
199. O'Donnell Aboo Morine. 

149. Popular Airs for Little Fingers, 

No. 1 . Walking in the Park ; Beautiful 
Bells. 

150. Popular Airs for Little Fingers, 

No. 2. Captain Jinks ; Tapping at the 
Garden Gate. 
161. Berger Family • 



